Business End

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

Harlequin Horizons & Thomas Nelson West Bow Press: Good For These Publishers and Author Solutions, Inc., Bad For Indie Authors

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Just as Thomas Nelson did about a month ago, Harlequin has announced it is partnering with Author Solutions, Inc. (ASI) to form a self-published books imprint. This new imprint is called Harlequin Horizons (HH), and according to a Harlequin press release:

Through this strategic alliance; all sales, marketing, publishing, distribution, and book-selling services will be fulfilled by ASI; but Harlequin Horizons will exist as a division of Harlequin Enterprises Limited. Harlequin will monitor sales of books published through the self publisher for possible pick up by its traditional imprints.

So in other words, they’re basically just lending the Harlequin name to ASI for use in providing the same services it already provides via such vanity and subsidy outfits as AuthorHouse, AuthorHouse UK, Inkubook, iUniverse, Trafford, Wordclay and Xlibris. Some of these outfits have raised both hackles and eyebrows over at Writer Beware!

Right in its press release announcement, Harlequin makes it clear that their involvement here is strictly limited to lending their name and monitoring sales, every other aspect of the publishing process for HH, from editing to marketing, will be handled by ASI. But wait, that’s not entirely true. There is one other area where Harlequin will be involved in the HH process: “acquisitions”.

First, Harlequin will refer authors whose manuscripts they reject to HH. Second, Harlequin will monitor sales of HH titles with an eye to re-publishing any big sellers under the Harlequin imprint.

This new HH imprint clearly has the potential to earn Harlequin a lot of money, given that they will be taking a cut of ASI’s proceeds on every HH publishing package and service bought by self-publishing authors. Given that HH standard publishing packages range in price from US$599 to $1599, and HH “VIP” publishing packages run from US$2299 to $3499, there’s most definitely gold in them thar hills.

Compare these rates (and services) to those on offer from Xlibris, iUniverse, Author House or any of the other subsidy/vanity outfits working with ASI, and you can easily see there’s nothing special or unique about HH. The services and pricing offered are on par with what you’d get going through any of ASI’s other outlets for self-publishing, and since ASI is actually handling the pre-publishing work, publishing, distribution and even marketing (assuming the author elects to pay for these services), you’re getting the same product as well. The only difference with HH is its affiliation with Harlequin and the implied promise that self-publishing through HH gives your book higher visibility among Harlequin editors—which carries the implied promise that your self-published HH book is more likely to be picked up by Harlequin for regular acquisition. While I’ve always warned indie authors away from subsidy and vanity publishing, I have an even greater concern with this new wrinkle. 

For those of you who are wondering why I advise against working with a subsidy or vanity press, the reasons are numerous but primarily boil down to an economic argument. Such outfits are notorious for their high-priced “publishing packages” which bundle together all manner of services plus one to two dozen “free” author copies of the finished book, depending on the package selected. Very often, the author must sign away some or all of her publication rights to the vanity/subsidy outfit for a set period of time as well.

The bundled packages are bad news because you’re limited to working with their staff editors and designers (as opposed to hiring your own individually, to ensure their skills and working styles mesh well with your project), they typically include (and charge for) services you don’t want or need, and also typically overcharge for products and services you can obtain on your own at a fraction of the cost, or even for no cost at all. For example, as of this writing it costs $35 to register a U.S. copyright online; HH/ASI charges $204 for this same service. That’s a 583% markup, and all HH/ASI is doing is taking information you provide them for filling out the form, then filling out the form for you. Why not just provide your information to the U.S. Copyright Office directly and save yourself a fast $169?

You can bet you’re overpaying for virtually every service offered by HH/ASI, because there are two layers of middlemen with their hands out: ASI and HH. Even if you’re the type of author who would rather pay someone else to get your book ready for print, published, distributed and marketed, does it really make sense to pay both the actual service provider and a “services packager” like HH, iUniverse, Xlibris, etc.?

Here’s where my second major objection to the Harlequin deal comes about: self-publishing authors are being led to believe that they’re actually getting something of value in exchange for paying the HH layer of middlemen, and they believe that “something” is greater visibility, a greater chance of having their self-published book plucked out of the great unwashed masses of self-pubbed books for the full Harlequin treatment. But here again, they’re paying for something they can already get for free.

If your self-published book is selling in great enough numbers to garner the attention of a mainstream publisher, it doesn’t matter how, or through whom, you self-published. The mainstream will want to acquire the rights to your book. Having published via HH doesn’t make this outcome any more likely than if you’d self-published through Lulu, Createspace, Lightning Source or elsewhere.

You may be protesting that per the quoted press release, “Harlequin will monitor sales of books published through the self publisher for possible pick up by its traditional imprints,” but this is a paper tiger at best. Among the likely thousands of titles to be released under the HH imprint, perhaps the top 10% in terms of sales would merit further attention from Harlequin staff, and even then, only if the top 10% are selling more than a couple hundred copies a year.

You could publish via any author or publishing services provider, save yourself a LOT of money by being a smart shopper and not paying for services you don’t need or for which you’d be overcharged by HH/ASI, then invest some of your savings in the distribution, marketing and promotion options that make sense for you and your book, and sell as many (or more!) copies as you could sell of the same book published under the HH imprint. Self-published books that sell well attract publisher attention regardless of who published the book, or how.

If it’s really worth an extra 500% in fees to get an HH logo on the spine of your book, knock yourself out. But I’d argue that if that’s your position, you’re not a very savvy self-publisher.

UPDATE: THIS JUST IN (to me, anyway) – yet another reason not to go with HH is this: in addition to all the upfront fees you must pay for HH to publish your book, they also intend to keep 50% of your net royalty on every copy sold (scroll down to comment #18, in which Harlequin Digital Director Malle Vallik says so)!! 50% of gross would be exorbitant since the standard bookseller cut is 40% of the retail price, but 50% of net is simply beyond the pale. And if you’re handing over 50% of your net royalty AFTER paying HH hundreds or thousands of dollars for its services, that’s just financial rape. Without even buying you dinner first.

Just in case that comment #18 from Harlequin Digital Director Malle Vallik on Dear Author should become unavailable at some point in the future, I’m copying and pasting it here:

1. Will rejected submissions to Harlequin indeed be “informed” that they can “opt-in” to Horizons? How do you assuage the stated concerns that this is a predatory process?

Malle: A writer receiving a standard reject letter will find a line included about self publishing. The writer, if she wants, can then contact HH. The writer will never be cold-called or contacted unless she has opted in.

2. Will Harlequin Horizons hold the ISBNs and pay out royalties from the sales, if any? How does this differ from the “vanity press” model? How does it compare to the “self-publishing” model, in which the author holds the ISBNs and keeps all money from any sales?

Malle: The content is completely owned by the author. Royalties are 50% net from both eBooks and print. [emphasis added]

3. If an author chooses to go to Horizons for a “keepsake” or a “gift”, what does Horizons offer (except for the Harlequin name) to distinguish it from much much cheaper services such as Lulu?

Malle: It is any writer’s choice as to what self-publishing option she choses to purchase or if she wants to self-publish at all.

4. If an author chooses to go to Horizons, do they lose “first publication” rights? How will that affect any effort to gain an agent or traditional publisher with their “bound copy”?

Malle: I’m not sure I completely understand this question. The author owns her content. How would she lost first publication rights? She has published it herself. Whether she is giving it away as gifts or marketing it, is up to her. Yup, clearly I don’t get your question.

Caught in the Middle: Publishing’s Other Customers

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This post, from Don Linn, originally appeared on the Digital Book World blog on 11/2/09, and is reprinted here in its entirety with his permission.

One of the matters much on my mind recently has been retail book prices for both electronic and print editions. I’ve been knocking the subject around for several months, partially due to the ongoing clamor for free or cheap long-form content (spotlighted most brightly by Chris Anderson’s FREE), partially due to an aborted personal foray into digital publishing, and most recently due to the retail price war currently underway among Amazon, Wal-Mart, Target, Sears and others, where prices of hardcover bestsellers (not remainders) have been pushed below $9.00.

That’s below the retailers’ purchase price in most instances and is clearly unsustainable over time (if not illegal, as the ABA has alleged).

Many have cheered lower prices as a way to grow readership and entice readers to purchase more books (both E and P). After all, readers are getting great deals and publishers (so far) are still getting paid on standard discount schedules. Others have taken a more nuanced look and have written about the consequences of sharply lower prices and ‘de-valuing’ content over time. Bob Miller, Publisher at Harper Studio, describes brilliantly the ‘roadkill’ attendant to deep-deep discounting in “How Much Should Books Cost?“

While I take a back seat to no one in arguing that publishers owe it to readers to provide books in all formats at reasonable prices (e.g., in most cases maintaining print prices on digital books is borderline insulting) and that the customer ultimately drives the business, it’s important to remember that publishers have another set of customers who are in play and upon whom they are equally dependent.

Those customers are called authors and creators and we need to balance their economic realities with those of readers.

Let’s be clear. In most cases, the days of monstrous advances are over. Publishers can’t afford them and the few superstar authors who can command them will at some point recognize their ability to self-publish and distribute far more profitably (and quickly) than their current publishers can. Stephen King is a brand. Nora Roberts is a brand. They don’t need a publisher’s imprimatur or antiquated logistics to sell truckloads of books. Those folks will be fine.

By the same token, writers who do not rely exclusively on income to pay the bills can also self-publish. Tools and services are readily available and mostly easy to use so that the aphorism, “We’re all publishers,” is true. Some will use self-publishing as a stepping stone to more traditional publishing. Others will master it and create work comparable to the best traditional publishing has to offer. A thousand flowers will bloom.

The publishers’ author/customers I worry about are those who fall between these two groups. They are the people who write for a living and who bring us the workhorse books in their categories (from literary fiction to genre fiction to all manner of non-fiction). Their advances have historically been relatively low and their sales relatively modest. They write for major publishers and independents. They write books that backlist and, in a small but very important number, they write really important books that either break out commercially, or say something significant that might not otherwise get said.

We need these writers and a significant component of a publishers’ role is to sustain, encourage and build their careers. When content’s price and value is pushed below a sustainable level for publishers, these writers will suffer. They will be forced to make the economic choice to write less to finance their careers. It’s not enough to say glibly that ‘writers have to write so they will’ or that self-publishing will be their salvation.

When content’s value drops, self-published content’s value drops as well.

We can develop new advance and royalty schemes, profit sharing payments for authors and other ways to carve up receipts from book sales among booksellers, publishers, agents, and creators. MacMillan this week announced a new boilerplate contract pushing author royalties on digital publications still lower. The sad truth is, from the author’s perspective, if the per unit receipts are low enough, it almost doesn’t matter what the split works out to be.

Kirk Biglione wrote recently on another topic that (I paraphrase) ‘in a digital world consumers get what they want.’ At the moment, it seems readers only want lower prices. My hope is that deep-discounting retailers will recognize that books aren’t a product that can be readily substituted with lower-cost imports like many of the products they stock. My further hope is that consumers who demand ever-lower pricing on intellectual property will begin to think beyond the next book they want to buy.

At this moment, I’m not optimistic about either.

 

Don Linn has a sordid past as a mergers and acquisitions investment banker; cotton and catfish farmer in deepest Mississippi; book distributor (as owner/CEO of Consortium Book Sales & Distribution); publisher (The Taunton Press); serial entrepreneur and general ne’er-do-well. He was a founder of the late Quartet Press and is currently an investor in OR Books, while consulting with and advising other publishing entities. He’s a graduate of Harvard Business School and Vanderbilt University, and is endlessly fascinated with the convergence of technologies with media and the opportunities and business models arising from their collision.

 

After The Book Signing

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Book Signing

Sunday was a good day for me as an author. What’s better than a book signing in a bookstore, sitting with three other authors. I feel like I have much I need to know about being an author and I always learn from conversations with other writers and book buyers. Since my topic – Alzheimer’s – is a heavy one I always hope that I helped a caregiver or someone struggling with the prospect of dementia in their future.

There were four of us with stacks of books in front of us. Kent Stock, Marion, Iowa, the coach from "The Final Season" fame has written a book along the same lines titled "Heading For Home". Karen Roth, Austin Texas, has a new, sequel, fictional book titled "My Portion Forever". Her first book is "Found On 16th Avenue" which is set in Czech Village in Cedar Rapids, Iowa where she grew up. A doctor, Mary Ann Nelson has a book on child care and one on Elder Care. My books were about Alzheimer’s – "Open A Window – Alzheimer’s Caregiver Handbook" ISBN 1438244991 and "Hello Alzheimer’s Good Bye Dad – A Daughter’s Journal" ISBN 1438278276.  Also sold on Amazon

On one end of the table, Karen Roth had a built in following because she grew up in Czech Village. You may remember that is the area hit by the flood in 2008. Old friends and relatives, along with customers who had her first book, lined up to greet her and buy books so she could sign them.

On the other end, Kent Stock had customers who remembered the Norway baseball team as I did or were sports fans. I bought one of Kent’s books because I am remember those exciting days in Norway. (Besides I wanted his autograph). I could get the signed book on his website but that wasn’t the same as in person. And I told him I might not ever get to see him again. He said now that I said that we would probably run into each other several times. I said, "Hopefully at another book signing." I’m ready.

Next to me on the other side was Dr. Nelson. She seemed interested in my books and my foundation for writing such books. I’m always willing to explain my years of working with people who had Alzheimer’s and some of what I was taught by my experiences.

Three customers stood nearby discussing what they liked to read. I over heard one lady say she read all the Amish books she could find. When Mary Ann Nelson asked me what else I had written I was telling her about my two Amish books. I heard the customer expel an OH! As if she was thinking there is more books that might interest her. With so much going on around me, I’m hoping she picked up one of my business cards and plans to follow up on my books.

Between customers the four of us authors had a few moments to learn about each other and our books and writing and publishing experiences. We exchanged websites so here are the ones you should check out if you like to help out Iowa authors.

Kent Stock – www.kentstock.com

Karen Roth – www.karenrothbooks.com

Fay Risner – www.booksbyfaybookstore.weebly.com

Dr. Nelson doesn’t have a website for her books but you can ask for them at Lemstone Christian Bookstore in Collins Plaza, Cedar Rapids, Iowa and I’m sure many other places. The large, hard cover books are full of educational information designed to help.

　

　

　

　

　

　

　

　

　

　

New Kindle for PC App Fuels Explosive Growth of New Kindle-Reading Customers Who Like $0.00 as a Price

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This post, from Stephen Windwalker, originally appeared on his Kindle Nation Daily blog on 11/12/09, and is reprinted here in its entirety with his permission.

If there was any doubt about how popular Amazon’s new FREE Kindle for PC App would be after it was launched early Tuesday morning, the proof is in the pudding on Amazon’s Kindle Store bestseller list. Even if it requires some work with tea leaves.

The Kindle for PC App is free, and people who are trying it out are taking advantage of the opportunity to fill their PC hard drives with dozens of titles from among the 19,890 free book listings in the Kindle Store. Why wouldn’t they? (Of course, they can also use the Kindle for PC app to download thousands of other free books from several other third-party sources, thanks to a new "we play well with others" approach from Amazon).

On the Kindle Store’s list of bestselling books — the one that updates hourly and really reflects the comparative velocity of unit sales regardless of price over various recent chunks of time — 77 of the top 100 titles are currently free, were free until earlier today, or are priced at one cent. 70 of the top 81 titles fit one of those categories. The number of freebies in the top 100 often hovers around 50 per cent, but 77 per cent of the top 100 and 87 per cent of the top 81 amount to dramatic new highs. (Currently the top 100 bestselling Kindle books include 28 free promotional titles, 47 free public domain titles, 1 title that was free until a few hours ago, 1 title for a penny, and 23 titles for more than a penny).

Meanwhile, the relative sales rankings of the top-selling paid blogs and periodicals are plummeting, strictly in relative terms (and not, necessarily, in units sold). For instance, the Kindle edition of this blog, which as I type these words is the #1 bestselling paid blog among the 7,453 listed in the Kindle Store, has fallen to an overall multimedia sales ranking of 534 from the 250-to-450 range where it usually hangs out. This is also natural, since blogs and newspapers are not available from within the Kindle for PC App. (That may make sense for newspapers, by the way, but why blogs?)

None of this is bad for Amazon, the Kindle, the Kindle for PC App, or even for Kindle Nation Daily.

There are over a billion PCs in use in the world, and perhaps somewhere between 1.8 million and 2.25 million Kindles. It’s natural to assume that, as word spreads about international (but not universal, right, Canada?) availability of a free Kindle app for the PC, there will be hundreds of thousands of new Kindle readers joining us each day (in addition to many existing Kindle owners who are trying out the additional device). The natural thing to do, while test-driving the Kindle for PC App before investing much in a library for it, is to scarf up free books. Then, if they like it, they can think about spending actual folding money on a few Kindle books and, perhaps, they might even consider buying a Kindle if the combination of price point and portability work for them.

Anyway you slice it, it seems likely that the number of people reading Kindle content on any kind of device is going to have, at the very least, doubled from Tuesday morning November 10 to, say, December 31, 2009. Sometime between now and Thanksgiving the launch of the Kindle for Mac, Kindle for Blackberry, Kindle for Droid (am I getting ahead of myself) and other Apps will only add fuel to a well-kindled fire. Oops, there’s that word again.

If one out of every 100 PC owners tries the Kindle for PC App, that’s another 10 million people browsing around the Kindle Store. Sooner or later one of them is going to make an actual cash transaction, wouldn’t you think? So the Kindle for PC and all those free Kindle titles are loss leaders, except that since it is all virtual, there is no loss involved.

Let’s pretend your name is Jeff and you want to do a little magical thinking….

If one out of every 50 of those browsers decides to buy a Kindle, that’s 200,000 additional Kindles sold.

And if even half of this comes to pass, authors and publishers will be beating down the door to Kindle publication, and the folks at Barnes & Noble are going to have a new name for Jeffrey P. Bezos.

"Daddy."

Magical thinking?

Maybe not so much.

 

An Indie Call To Action

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Most of us indie authors talk a good game about how there are plenty of quality indie books available, and how there are plenty of terrible mainstream books. We also like to complain about the lack of variety and originality in mainstream book offerings as compared to indie books. Such musings generally lead to the conclusion that if people would just give indie books the same chance they give to mainstream books, if they would just put indie books to the ‘fifteen minute’ or ‘first ten pages’ test, the frequency with which they’d find books they would want to keep reading would be on par with that for mainstream books, and indie authors and readers everywhere would rejoice. It’s time we stop all the hand-wringing and blind hope, and make this happen.

Yes, we have the power. Every indie author is also a reader, and every one of us has a circle of influence. So if you’re an indie author or small imprint owner, I issue the following challenge to you:

1) Find an indie book you LOVE, from an author to whom you have no connection. The lack of a prior connection or relationship is important, since it will eliminate any possibility of a conflict of interest. Finding the right book will require you to put a few likely candidates to the fifteen minute/ten pages test, but if you’re not willing to do it, why should any prospective reader out there do it for your book?

2) Write positive reviews of your chosen book on every site where the book can be bought (e.g., Amazon, Smashwords, Scribd, Lulu store, Authors Bookshop, etc.; most allow you to enter reviews whether you bought a given book on their site or not) and on any reader community sites to which you belong (e.g., Goodreads, Shelfari, LibraryThing).

3) If you’re on Twitter, tweet about the book and author, and include a link to a page where the book can be purchased. Use the hashtag #indieaction, to make it easy for everyone to find these indie action tweets (and some great indie books!).

4) Add the author’s site to your blogroll or links page on your own site.

5) If you were already planning to buy books as holiday gifts and your chosen book is available for sale, include it in your gift mix.

6) If you typically review books on your blog or website from time to time, review the book there as well. If you don’t typically post full reviews, just add a one- to two-liner about the book and author at the end of another blog post. Link back to this post if you feel you need to put your remarks into context.

7) Recommend the book personally to family, friends and coworkers.

8) Spread the word about this campaign to every indie author and indie supporter you know. Here’s a handy link you can share for this post –
http://bit.ly/19eRLb
 

This is not a shady scheme, and this is not a mutual back-scratching society. This is the many thousands of indie authors flexing their collective influence as readers for the benefit of the indie author movement overall.

Maybe you’ve never actively sought out indie books to read, and don’t know where to start. I’d suggest you begin by checking the top-selling, most-downloaded, and/or top-rated books at any of the sites listed below. Most of the bookseller sites listed allow authors to post a free excerpt (for your 15 minute/ten pages test); for other books, try looking up the author’s website to see if you can find an excerpt that way. Again, some time and effort will be involved here but you can gain a lot of insight into the typical book-buyer’s experience with indie books by going through this exercise.

Web Fiction Guide
LL Book Review
Small-Press Bookwatch
Scribd*
Smashwords*
Podiobooks (podcast audiobooks)
Authorsbookshop
Self-Publishing Review
The New Podler Review of Books
Top 100 Kindle Store Independent Authors
POD People

*These sites offer both indie and mainstream books, so you’ll need to check the publisher name to see if you’re dealing with an indie/small imprint book, or a mainstream release

I’m going to get the ball rolling by recommending an excellent indie book from an author who’s a complete stranger to me. The book is called The 6th Seal, and it was written by J.M. Emanuel. It’s an excellent, and truly scary, supernatural thriller set against an archetypal good vs. evil backdrop. If you enjoyed The Da Vinci Code but wished it had more depth, if you enjoy books by Straub and Stephen King, or any of the darker works of Neil Gaiman, if you like fictional explorations of Armageddon, mysteries, or stories built on biblical revelation, you really ought to give this book a try. You can read the first few pages of it using the Look Inside! Feature on Amazon.com, where it’s available in both print and Kindle editions.

In the coming week I’ll put my keyboard where my mouth is by tweeting and posting reviews of this book everywhere I can.

Now get out there and become part of the solution!

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

Literary Agents and the Changing World of Trade Publishing

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This post, from Mike Shatzkin, originally appeared on the Idealog blog on 11/14/09, and is reprinted here in its entirety with his permission.

I had a lunch conversation this week with three successful literary agents, who will remain anonymous for this post. They wanted to talk about the panel we’re having at Digital Book World called “The Changing Author-Agent Relationship: How Will It Affect the Business Model?”

That panel was born when I engaged an agent last summer with my observations about digital change and tried to recruit her to join a panel discussion about it. “Suppose you work with an author to develop her manuscript so your creative input becomes part of the work. Then you can’t sell it, or you get only a token offer for it, and the author wants to self-publish. Shouldn’t you, or any agent in that spot, be entitled to something in that case?”

The agent, sensing quickly that I was going to a model of “author pays agent for consulting help” said, “I can’t participate in a conversation like that. We have a canon of ethics in the AAR, and that might well run afoul of it.”

As it turns out, the canon of ethics of the AAR only explicitly prohibits agents from charging “reading fees” to prospective clients. Other charges are explictly permitted, such as for xeroxing and messengers. And others, such as consulting on self-publishing options, aren’t mentioned.

But, still, the question of whether the business model needs to change remains. The kind of book advances that agents have made a living on for years are diminishing in number. And now that self-publishing is legitimately part of the commercial continuum, authors have a right to expect that their career business manager, which an agent is, will employ it, or suggest that they do, when it makes sense. And agents will have a right to expect to be paid for that.

Of course, that’s not what these three successful working agents do. Their business assets are their personal knowledge of and relationships with acquiring editors; their ability to shape a writer’s concept and proposal into a commercial book; their knowledge of the ins and outs of book contracts and publishers’ accounting procedures. Exploring and keeping up with the various print and electronic self-publishing options: starting with Author Solutions and Smashwords, but including many others including our client Bookmasters, lulu.com, and many others, is a fulltime job in itself. (There’s a string started on Brantley’s list today by Joe Esposito who noticed announcements for four new self-publishing startups in his email in the past few days.) And searching out the authors with the money to self-publish, let alone to pay for advice on how to do it effectively, is also not what the successful agent in the current marketplace does.

I had spoken at a Writer’s Digest conference two months ago and told aspiring writers “get an agent” but also, “make sure the agent knows about the self-publishing options.” These very professional and desirable agents did not. But they agreed that when ten or thirty or fifty times a year a project they’d developed goes off for self-publishing, they’ll want to have a way to monetize that. We agreed that the likely solution will be an alliance with somebody who perhaps positioned themselves more as a “consultant” to aspiring authors. There is no shortage of such people.

The conversation turned to contract terms, particularly regarding ebooks. The agents asked me: “don’t the big trade publishers see that the strategy of paying authors half or less of what many ebook publishers will pay on digital book royalties isn’t sustainable? that we’ll end up splitting those deals?” I told them that I had raised this point with Big Six CEOs and they all said, “we won’t buy print-only; never happen.” The big publishers are counting on the authors’ (and agents’) desire for the advance to keep them locked into the current model. (Richard Curtis made this same point in a recent eReads post.) It is clear that the idea of splitting off ebooks from print contracts is one that these agents have been thinking about for a while. The relative attraction of the advance goes down as the level of ebook sales on which you’re taking half or less of what you could get goes up.

We also spent a little time discussing “verticals” and my theory that power is moving from “control of IP to control of eyeballs.” In the past week, I’ve had two conversations with Hay House executives (they’re on the Digital Book World program too) about their business. To somebody with a trade orientation, it’s pretty phenomenal. They run between 30 and 100 live events a year for their community. They have over 1 million email addresses that drive the sales of all their books. One of the agents said he had an author for whom he sold a book to one of the Big Six houses and they sold twelve thousand copies. He sold the next title to Hay House and they sold two hundred thousand. How long will the Big Six houses be able to compete for big-potential books in Hay House’s sweet spot (mind-body-spirit), advances or no advances?

One of the agents at lunch does a lot with juveniles. “Do I have to worry about this ebook thing much?” that agent asked. Soon you will, I said. After lunch I was working with my frequent collaborator Ted Hill on a proposal we’re making for another conference on digital tipping points. One we were talking about is “when does the publishing house have editors shift their focus from developing a print book with an author, with the ebook as afterthought, to developing the best possible digital product, with the print book coming out of it?” That gave me an answer for that agent: you better have somebody on your team now who can see the digital book possibilities in every idea before you peddle it. Now that you’ve made me think about it, I realize that if you’re not fully exploring the creative possibilities for digital products for every kids book you develop, you’re already missing the boat.

Me — Interesting?

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I now have the information about the other authors that will be with me at the Nov. 15th book signing at the Lemstone Christian Bookstore in Cedar Rapids, Iowa. This week I visited the store to talk to the owner about the book signing. While I was there I found out what I needed to know to report accurately about the authors. Kent Stock, Marion, Ia, from "The Final Season" fame has written "Heading For Home." His story about being a successful coach, teacher and business man. Karen Roth, San Antonio, Texas and formally from Cedar Rapids, Ia has her second book out. "My Portion Forever". Her first book is "Found On 16th Avenue". She writes about growing up in Czech Village in Cedar Rapids which last year was in the devastating flood.

　

　

When I can get the Internet to cooperate with me, I’m back writing blogs on a new monitor the size of a small television instead of the very small, ten year old screen I was using. I can’t believe what a difference screen size makes when I’m staring at it for a long period of time. Not that there is that much wrong with my eyesight as long as I wear my glasses. The fact is I’m feeling great, busy and full of purpose. It took a visit with a young neighbor girl to get me thinking about the generational gap between her and me and to bring this gap into prospective.

　

When I answered the phone one evening recently, I had to ask the caller to repeat her name. I want you to know I’m not hard of hearing. I’d heard right the first time, but I was too surprised to believe I had. It was the fourteen year old neighbor who lives in seeing distance of my home.

It seemed over night I watched her change from baby to toddler to an energetic child to a bashful preteen that didn’t speak when she came with her father to visit. Now a teenager, she was still very quiet this summer with a look on her face that said she would run for home if we spoke to her.

Her father described her as his Tomboy. Her attire was a shirt and jeans. Dresses were for a rare occasion. Most likely an occasion deemed appropriate by her mother. She went with her father to the barn to help with chores until she was old enough to do them on her own. Her love of animals led to her taking care of a flock of sheep and a horse. She worked with a lamb so she could enter the sheep exhibits at the county fair.

Out of the blue, she called me and got right to the point. "I have to write a story about someone for English Lit. I want to interview you for the story."

Not comprehending why she would call me for her assignment, I said, "Okay, but why me?"

"Because I think you’re interesting," she said.

I must admit I was baffled by that statement. We set up a time for her to come late one afternoon after school on a day between cheerleading practice and a football game. In walked a young woman who over the summer had grown a foot taller than me. Her long, dark blonde hair was styled. She had on makeup. Best of all, she was smiling as if she was happy to see me. Her father had told us a few weeks earlier he had lost his Tomboy. He was having trouble adjusting to the fact since the change happened suddenly. Now I saw first hand what he meant.

We sat at the dining room table so she could spread out the contents of the folder she carried. First thing she said in a very direct manner, "I can make the interview short and write three pages. That won’t get me an A." As she shuffled through her papers to get organized, she continued, "If I talk to you longer and write 5 pages, that would get me an A. I would rather get the A. It’s up to you how much you want to tell me. The teacher said not to talk too much if you would rather I didn’t stay long."

I told her she could take all the time she needed. Why would I want to rush her when I finally had her talking to me. I wanted to get to know her. I said I would do my best to answer her questions, but I warned her she might have to spice up her story. I was pretty sure I wasn’t interesting enough to get her that A. I offered to go over the story so we could do just that, spice it up. I could even proof read it for her while I was at it to make sure she got the A. She said she couldn’t let me do that. The teacher told the students to bring the stories to her so she could give them pointers on making the stories better before they turned the final product in.

"So where do we start?" I asked.

"From the moment you were born."

"That is going back a long ways. We may need a lot of time," I warned her.

Reading from a list of questions, birth was the first question the teacher had furnished to help the students with this story telling process. The girl wasn’t sure how some of the questions applied to me, but I encouraged her to ask me anyway. Once I elaborated enough that I unwittingly answered the next question.

I fear I was born in a much earlier generation than the teacher. Maybe she thought the students would pick someone more her age to interview instead of someone who could have been the girl’s grandmother. I came by that impression when I was asked the question, "How did the arts and craft movement play a part in my life or did it?"

Through my mind scrolled my childhood years in the Missouri Ozarks. Nothing about my early life was an arts and craft experience, but I was determined to give her an answer. Once in awhile we went to a western movie on a Saturday night in a vacant lot next to Schell City’s car repair garage. As for crafts, my family was in to crafts, but the main objective for being crafty was to make money. My father built flower baskets, with a log cabin look, from twigs. My mother made crape paper roses she dipped in paraffin. Back in the fifties, we didn’t have plastic or silk flowers. My younger brother and my part of this work was after supper. Mom gave us boxes of Kleenex in different colors. We folded a couple Kleenexes in accordion folds and wrapped a wire around the middle. The ends with the fold had to be cut off, then we carefully pulled each fragile layer of tissue paper to the middle. When we were done, we had a carnation. The flowers were arranged in a bouquet in the log cabin baskets and sold to neighbors for Memorial Day decorations to take to the cemeteries. Any basket left we spent the day delivering to cemeteries for our relatives. This story was noted. Maybe she could figure out a way to work it in.

Two hours and several pages of notes later, the girl gave me the last question. The time had passed fast for her and me as well. Since we never had really had a conversation I doubt she was prepared for how much I can elaborate on a subject when given the chance. However, she left happy with her interview and eager to turn it into a story. I asked her to let me know if she got that A.

According to her father, who came over recently to tell me after a talk with his daughter, she had been nervous about talking to me. By the time we finished, she was excited to relate to her parents all the experiences I had shared with her. Her father says she is very impressed with me. That is a two way street. What were the things she found most interesting about my life? It wasn’t that I write books and have been a CNA. What impressed her was the fact that I can vegetables we raise. She had me show her my pressure cooker and explain the process. The other thing was that I have for years did my own vet work as much as possible for my flock of sheep and goats. Though she takes care of sheep, she had never thought about giving shots or helping during a difficult birthing and all their food comes from the grocery store. Wow! I could do all that. Not what I would call interesting. These are things I have done for years. Just part of life as a person who lives in the country.

It didn’t matter that she wasn’t impressed when I said I was an author. I found this bashful Tomboy had turned into a polite, articulate, caring and lovely young woman. I told her to come back and visit any time she wanted, and I hope she does. Maybe I can get her to help me can green beans.

　

　

　

　

　

　

　

　

Writing Wednesdays #15: Elements of Success

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This post, from Steven Pressfield, originally appeared on his War & Reality in Afghanistan | "It’s the Tribes, Stupid!" site on 9/11/09.

I was making a long drive this week, across the desert from L.A. to Phoenix, and I got to thinking about the elements that comprise success-particularly for people like us, e.g. writers, artists and entrepreneurs, who work from the heart and on their own, without any imposed external structure. What are the skill-sets we need? Over a lifetime, what challenges do we need to master?

In today’s post, I’m attaching a podcast of an interview I did with Jen Grisanti, who helms a Los Angeles-based consulting firm dedicated to helping talented writers break into the industry, shape their material, hone their pitches, and focus their careers. Her one-on-one consults with authors offer the insight of a personal studio executive. Considering Jen’s last job was as VP of Current Programs at CBS/Paramount, writers do, indeed, benefit from having their own “executive” – one who has worked with over 190 writers working in television, features and novels, and who is also the Writing Instructor for NBC’s, Writers on the Verge, and a blogger for The Huffington Post.

In addition to consulting, Jen holds monthly networking events and does a twice-monthly podcast, featuring interviews with movie-industry professionals and writers and artists of all kinds. This podcast would fall under #2 of my desert-drive list of the elements of success: Technique. I hope you enjoy it and find it useful.

  Elements of Success – An Interview with Jen Grisanti

[ Click on above link to open the audio file in your computer’s default audio player, or right-click this Download link and "save as" to download.]

 

1) Talent.

There’s a reason why you and I are not Michael Jordan or Tiger Woods. On the other hand, it’s no coincidence that so often the greatest athletes, artists and entrepreneurs also embody the most ferocious work ethic. Talent may set the final limit to how good we can be, but it also can be stretched way beyond what most of us believe.

2) Technique.

This is an easy one because it can be taught. We can learn it-in school, from books and mentors, in seminars and workshops and coaching sessions. We can teach ourselves in the university of hard knocks. Jen Grisanti’s interview is in this category. So are the Iowa Writers Workshop, Robert McKee’s Story Structure classes (and his book, Story) and Noah Lukeman’s The First Five Pages.

Read the rest of the post, which includes elements #3-6, on War & Reality in Afghanistan | "It’s the Tribes, Stupid!".

 

But let’s go back to Number One in the elements of success. What skills do you and I need as solo gunslingers in order to call ourselves “successful” over a full career?

Using Twitter’s Lists Feature for Writing

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This post, from Meryl K. Evans, originally appeared on her Meryl.net site on 11/2/09 and is reprinted here in its entirety with her permission.

If you haven’t heard by now, Twitter now has Lists that lets you put Twitter users into groups. It doesn’t matter if you’re following someone or not, you can add anyone into a list or two or three. Here’s an introduction and a how to use Twitter Lists at Web Worker Daily.

[Publetariat Editor’s Note: there’s also an embedded how-to screencast in this post, after the jump]

Round Twitter ButtonTwitter users have their own rules for who they follow and not follow. Some follow those who fall into a specific field, career and whatnot. Guy LeCharles Gonzalez follows those with some connection to publishing. It’s not elitist if someone doesn’t follow you back. They use Twitter in a different way than you and I do. Nothing against you. Really. I promise.

I follow thousands of people. It’s crazy, I know. But my work varies. Know that I do not follow every high quality tweeter who follows me. Some folks just talk about things I’m not interested in. Most of the people I follow fall into one of the following areas:

  • Work as writers, editors, publishers and related.
  • Tweet about casual games. After all, I run The Game Zen and write for Gamezebo.
  • Experts in social media and PR. This area changes daily and I want to keep up.
  • Experts in marketing especially business-to-business (B2B). For my work with InternetVIZ.
  • Make me laugh. I find lots of gems in Tweets to fill me with energy and smiles.
  • Those from the Dallas / Fort Worth area. Gotta stay on top of what’s happening in my neighborhood.
  • People who write about things related to disabilities and accessibility. Might find something worth sharing in my CI blog.
  • Gadgets, technology and web design. I cover this area often and have met a lot of folks in this field.
  • People who discuss general business. This one is broad, but they just don’t fall into any of the above categories.

I know it’s crazy that I have a bit of a list and a huge Twitter stream. Social networking is high on my list of things to do for my business. Writers could manage the people they follow and their lists in the following ways:

  • Create a writers list. This will be your water cooler, support system and colleagues in the same boat.
  • Create separate lists for editors, publishers, agents and gigs. I lump all of these into one because I have broader interest. Or you can make one list. It depends on your needs. If writers and these folks are the type of people you follow and nothing else — then use lists to narrow them down further.
  • Create a favorite people and clients list. Yes, you can make it private if you prefer not to share. This way you don’t miss a single tweet. This would most likely be a short list.
  • Follow other people’s lists. Why start from scratch? We’re not the only ones creating lists, so we can follow other people’s lists. I follow Simon Mackie’s list of Web Worker Daily writers.
  • Create an experts on X topic list. What’s your beat? Football? Finance? Fashion? Make a list for your frequently covered topics for instant access when you’re working on an article. No more trying to remember the people you read for the topic.
  • Create a list for learning. Plenty of Twitter IDs focus on tweeting writing, grammar and other tips.
  • Create a list for current events, conferences and projects. Hey, there’s lots happening on Twitter right now due to NaNoWriMo.

To see my lists, go to @merylkevans and look in the right sidebar. Click the list to see who appears in it. You can also “Follow the list,” which adds my list to yours so you won’t have to manage it. Just remember, you can’t edit other people’s lists.

Here’s a closed-captioned screencast on how to create lists.

Some developers behind applications that make it easier to manage your Twitter business are already working on adding the list feature. I look forward to seeing what they do.

I love these lists especially since I’m a freak when it comes to organization. Of course, you can find me @merylkevans; hope I make the good list!

You might like to read more Twitter articles.

How do you use the list feature?

Mythbusting the ISBN

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This post, from Laura Dawson, originally appeared on the LJNDawson blog on 11/4/09.

It’s probably not healthy to keep thinking about this. It certainly makes me a lousy conversationalist. Because in all the ruminating and talking and (if you must know) mad nattering to myself (luckily, I spend LARGE portions of my day alone), I keep coming back to the ISBN.

Bear with me. (I have already investigated, and there is no rehab facility that deals in identifier addiction problems, so that’s out.)

Last month, the AAP’s Digital Initiatives Working Group and BISAC’s Identifiers Committee conducted a survey among members to determine what publishers’ views actually are on the ISBN. Publishers have been told what to think, repeatedly – and we know how much publishers like being told what to think – so we thought we’d turn the conversation around and ask them what they thought. The results are not yet finalized, and when they are I will talk about them.

But I worry. Because as we expand book distribution from merely a paper-with-occasional-ebook business to an all-kinds-of-paper-and-lots-of-different-ebooks-plus-vooks-plus-promotional-packages-plus-print-on-demand-plus-subscriptions-to-book-content-plus-downloadable-audio – well, you can see where this is going, and it’s messy.

And I have been in more than one meeting where I have heard these exact words (and I am not making this up), “If only we had some kind of system to deal with this, some way of identifying content…”

Hello????

So, first, some mythbusting.

ISBNs are expensive.

Actually, no they are not! The new My Identifiers site will offer new pricing in January. A single ISBN will cost an author or publisher $125. Ten ISBNs are $250, or $25 per ISBN. A hundred ISBNs are $575. This is cheap!

An ISBN is just a bar code for a book, and if my books are digital, I don’t need ISBNs.

Not so! In using an ISBN for a digital book (or any book), a publisher creates an automatic web page for that book, which is populated by the bibliographic data in Books in Print (and can be edited or added to by the publisher). Bowker hosts that web page, and the hosting price is included in the purchase of the ISBN. Publishers can choose which booksellers will sell their titles on that page – or direct traffic specifically to the publisher itself.
The price of the ISBNs also includes a widget for each title, to put on your own website or to share – you can choose to display as much or as little of each book as you want.

 

Read the rest of the post on the LJNDawson blog.

Publishing: How does the "mix" affect writers?

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Here’s a question for publishers and literary agents.  This morning, NBC featured yet another book tour interview.  This time it was a non-fiction (I’m assuming) tell-all from a former Miss California and gay-basher who, by the way did make a ….sex….tape.  Oh No! Not that!  Maybe she wrote it, maybe it was ghost written after her agent explained the money to be made, who knows?  It raised a question for me, immediately. 

I assume that publishers work with a finite number of books they can produce in any given year.  The number must be based upon market conditions and costs.  I do know that re-prints of existing books tend to be a hard decision if they’re not selling well — that makes sense, financially.  I also know that if a publisher produces both non-fiction and fiction, the mix proportion is probably determined in accounting ultimately.  They probably leave a certain amount of wiggle room, to take advantage of instant opportunities that come up — like this new hardcover tell-all that the world clearly needed (insert sarcasm here). 

You can’t fault the publisher for the amazing appetite for garbage the market seems to exhibit.  After all, BIG publishing is not a non-profit organization. Some smaller ones are, much to their chagrin, and not because they don’t work at it.  My heart goes out to them, as they really are trying to keep the art of literature alive.

My question concerns the impact to new authors and unpublished authors.  If there is a fixed number of books that can be published any year, doesn’t each book produced to take advantage of a perceived short-lived celebrity — like this new hard cover — reduce the chances for a publisher assigning a slot to a new author?

Please correct me if I’m wrong, but looking at the industry from the weary eyes of running a small business, it seems that the only answer is that for every 15-minute celebrity tell-all, one less real work of important writing must be overlooked.  With mainstream publishing still pounding the table, insisting that they are the "gatekeepers" of quality and good taste, the field seems to be getting mored tilted all the time against new authors, especially fiction writers that only write well.  Maybe we should all do sex tapes?

I’m tired of the old, tired publishing fable is that they will gladly publish a new writer’s work…if it "good enough".  Market conditions are part of the mix, and given what I’ve read and heard about, the definition of "good" changes constantly.

Am I wrong?

Remix My Lit: Literature That's Read and Write

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This is a cross-posting of a post that originally appeared on Joanna Penn’s The Creative Penn website on 9/23/09.

I went to the Remix My Lit masterclass at the Brisbane Writers Festival last week, and came away inspired! It was run by Amy Barker, author of Omega Park and the notes below come from her presentation and ideas.

RemixMyLit.com is a project that took original works by authors licensed under Creative Commons. Then a whole load of new authors remixed them creating new works, also shared under the Creative Commons license.

Some of the best works were published in an anthology, ‘Through the Clock’s Workings‘, that can be downloaded for free here, a Creative Commons work you can remix and share to your heart’s content.

“It is shared under a Creative Commons Attribution Non-Commercial ShareAlike licence. What that means is you can remix the stories, but only if you acknowledge the author, the remix is not for commercial use, and your new work is available for others to remix”. Remix My Lit.

What is remixing and why is it interesting?

Remixing is a term more commonly used in music, where artists remix each others work, or fans do the same (the project uses the example of Trent Reznor Nine Inch Nails The Slip album).

But it has been used in literature, most commonly with Shakespeare – endlessly remixed into films, stories, plays and other works. Baz Lurhman’s Romeo and Juliet kept the language, but totally remixed the location, scenes and time to create a fantastic version.

Shakespeare and other older works are in the Public Domain, out of copyright and available for anyone to use for any purpose. You can get free digital copies of Public Domain books at Gutenberg.org.

Public domain classics include: Alice’s Adventures in Wonderland by Lewis Carroll, Ulysses by James Joyce, Sherlock Holmes by Arthur Conan Doyle, and of course Pride and Prejudice by Jane Austen, most recently remixed as Pride and Prejudice and Zombies: The Classic Regency Romance – Now with Ultraviolent Zombie Mayhem! by Jane Austen and Seth Grahame Smith.

This is a ‘novel as mashup‘, certainly more recognisable that Bridget Jones Diary (albeit a better looking Mr Darcy!).

Whatever the literati think of these remixes, Seth Grahame Smith has made a lot more money than many, more original authors. He has 2 more books coming out, the next being “Sense and Sensibility and Sea Monsters”. There are also rumours of a movie!

So you can remix/reuse public domain works, certain Creative Commons works and, I presume, other work you have express permission to use.

So why is that interesting?

Remixing is great for writing prompts and jump-starting creativity!

If you need some inspiration for your writing, there is literally a world of ideas just waiting for your brain to create something new! That is pretty exciting.

In the workshop, we did this fun exercise where we took the hard copy of one of the stories, ‘Cherished’ by Emily Maguire. We then proceeded to do a ‘cut-up’ – literally!

We all cut words out of the story and re-pasted them into a remix, some taking the angle to preserve some of the original ideas, and others making something very new with the same words.

You can read the original story in the free eversion here. It is short narrative.

You can see all the remixes of the original stories here.

Here is my offering (and yes, I’ve been reading too much horror!)

‘Cherished’: The Scott Sigler Remix

Behind a smear of pinkish sunless skin

her gums are dried blood

Her ragged bathroom belly

flaunting retro-blue-frosted polished stumps

stiff to the touch

squat reflection on her steel-blue veins

the rest of her remains, a goth-inspired charcoal

disposable beloved,

Emily, Cherished girl.

****************************************************

The Remix My Lit logo is a derivative work of a CC Attribution 2.0 Flickr image ‘Street Art’ by Kim Laughton, aka ‘olivepixel.’

Ebook Drama Roundup

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There’s been a lot of hang-wringing, railing, theorizing and punditry about ebooks lately: pricing, devices, formats and DRM. Here’s a roundup of just a fraction of the buzz.

On October 23, Crain’s New York Business ran a piece entitled Analysts Warn Booksellers Of E-Peril. Sounds pretty melodramatic, but as it turns out, all the worrying and worst-case-scenario discussions can affect stock prices. The article ran within a few days of the launch of Barnes & Noble’s "Nook" dedicated ereader, and according to the article, "The shift from digital to physical books will ultimately hurt traditional bricks-and-mortar book sellers, analysts said Friday…" The article goes on:

The company could become a major player in the digital book business, but that actually may speed the downward trend in its revenue and profit, said Credit Suisse analyst Gary Balter, who rates the company "underperform."

As the math currently works, each sale through a Nook is not just unprofitable but potentially replaces a higher-margin sale at stores," Mr. Balter wrote in a client note Friday. One obvious risk is that downloading books reduces the need to go into stores, he said.

Yet there’s a tiny ray of sunshine for B&N stock holders, in that the sale of Nook devices will temporarily increase B&N’s revenue picture. But that’s not necessarily a good thing for all the rest of us. On his Publishing 2020 blog today Joe Wikert wonders, Is the eReader Financial Model Upside Down?, saying:

I won’t buy a Kindle edition of a book that’s more than $9.99.  Why?  Besides the fact that I’m a cheapskate, I guess I’m still bitter about paying almost $300 for an original Kindle, so I expect to "make it up" with cheaper content.  I wonder how many others like me are out there.

I’d say quite a few.  Look at the Kindle book bestseller list.  Even though there are plenty of Kindle editions priced above $9.99 they rarely make the bestseller list. In fact, as I type these words 14 of the top 25 have a price of $0.00, one is $0.01 and the rest are at or below $9.99.  I only found three books in the top 100 priced above $9.99. Three."

Why can’t a device vendor go with more of a cell phone model, where the low price of the device is subsidized by the longer-term commitment to buying content?

According to Max Magee’s piece, Follow the Money: The ebook Pricing Wars, which ran on The Millions on May 28 of this year, Wikert is on target:

You’ve likely heard about Kindle owners who have balked at the idea of spending more than $9.99 for an ebook. With the Kindle going for $359, many Kindle owners have decided that their willingness to pony up the big bucks for the device was their side of an implicit bargain. In return, there is an expectation that ebooks will come at a discount to their physical counterparts, allowing Kindle owners to recoup their investment in the device over time. Any sign that this bargain is falling apart has been met with resistance by Kindle owners…

Okay, so publishers and consumers alike have a lot of financial concerns about ebooks. But what about the authors? J.A. Konrath has recently begun publishing some of his work for the Kindle himself, and on October 13 he posted a surprising comparison of Kindle Numbers: Traditional Publishing Vs. Self Publishing on his A Newbie’s Guide to Publishing blog. His conclusion?

My five Hyperion ebooks (the sixth one came out in July so no royalties yet) each earn an average of $803 per year on Kindle.

My four self-pubbed Kindle novels each earn an average of $3430 per year.

If I had the rights to all six of my Hyperion books, and sold them on Kindle for $1.99, I’d be making $20,580 per year off of them, total, rather than $4818 a year off of them, total.

So, in other words, because Hyperion has my ebook rights, I’m losing $15,762 per year.

Konrath is so pleased with his Kindle self-publishing results that’s he’s now beginning to dabble in iTunes ebook apps as well. Sounds pretty good if you’re an author, until you take a gander at Henry Baum’s piece, Ebooks are a Disaster, posted on Self-Publishing Review on November 4. Henry says:

I spent a long time designing the interior of my book – choosing fonts and font-sizes, etc. – only to have to delete all of that when creating the ebook. Given that people already chide ebooks for being a pale comparison to printed books, having an ebook be so different from the printed text is going to slow down converts to the platform.

The process of duplicating his interior formatting to the extent possible proved to be such a hassle that he eventually hired B10 Mediaworx to do the formatting for him, but even then it was no slide on ice. He adds:

We had a time of it, though, because the epub file wasn’t revealing the italics – which isn’t just a formatting problem, but an actual content problem. Italics can change the entire meaning. Turns out – after many emails sent back and forth – that the desktop version of Stanza does not work as well as the iPhone app, which actually does reveal italics in the epub file.  One example of the many possible ways that ebook formatting can go awry.

Unfortunately or fortunately for authors, depending on how you look at it, static text ebooks are just the tip of the digital book delivery iceberg. Last month I interviewed Al Katkowsky about the success of his iTunes book app, Question of the Day Book, and you’d have to be actively avoiding publishing news to avoid hearing about the Vook. Publetariat contributor Joanna Penn wrote about it on her The Creative Penn site on October 4th in a post called What is a Vook, and How Will It Change Publishing?

Publishers Simon& Schuster launched 4 ‘vooks’ last week, a combination of book and video to create a new medium for the reading/watching experience (video on What is a Vook here).

They are available in the Apple app store for the iPhone and are aimed at handheld devices, although are not compatible with the Kindle or Sony e-reader as they don’t do video. You can also buy them at Simon & Schuster’s website.

Following a video clip of Vooks in action, Penn notes:

  • There are opportunities for new sources of revenue for both publisher and author. The authors are getting ebook royalties (whatever that means!) but Jude Deveraux wrote her novella in 6 days and then worked with a film-maker. This is clearly not the 5 years Dan Brown took to write “The Lost Symbol”! These vooks may not replace the mainstream novel but they could represent a smaller, short story based product that could make authors money in between novels.
  • The ‘vooks’ have launched on Apple’s app store, and so the possibility of creating one as an indie author is there. This week I am interviewing Winged Chariot, who publish children’s books on the App store. I will be asking them how to create an app and will be posting more on this. I am determined to have my books as iPhone apps, but not for a huge price. I’ll let you know what I find out!

So authors, perhaps especially indie authors, have a brave new world of publishing opportunity at their feet, but it’s a world that demands that authors have either the techno-savvy to develop their own book "products", or the money to hire out for techno-savvy. Now if only we could get a handle on Digital Rights Management (DRM), that process whereby publishers and device providers collude to prevent consumers from sharing, moving, and generally doing whatever they want with their purchased ebooks.

The Nook ereader device introduces a new wrinkle in that discussion: ebook sharing. On October 25, Medialoper’s Kirk Biglione wondered, Is Book Sharing Really a Threat to Publishing? 

Although ill-named, the Nook is a worthy competitor to the Kindle, offering a number of features not found on the Amazon device, including LendMe, a feature that allows for controlled sharing of ebooks. While the sharing feature comes with a number of limitations, it would appear to be a small but important step towards making DRM-restricted content slightly more flexible for consumers. There’s just one problem — publishers want no part of the Nook’s LendMe feature.

Publishers Lunch reported last week (registration required) that many large publishing houses have indicated that they won’t participate in the LendMe program.

Later in the article, Biglione adds:

What Unnamed Publishing Executive seems to fear most is a sense of consumer entitlement. If consumers have the right to share ebooks now, they’ll expect to have that right until the end of time. Never mind the fact that consumers share print books all the time…If the history of digital media has taught us one thing it’s that media companies see the digital future as an opportunity to exert extreme control over how consumers use and interact with content.

It seems reasonable for publishers to want to protect their livelihood, but they may be barking up the entirely wrong tree if  a recent report out of Norway on the music-buying habits of filesharing pirates is to be believed. As reported by Ars Technica on April 20 of this year:

Researchers examined the music downloading habits of more than 1,900 Internet users over the age of 15, and found that illegal music connoisseurs are significantly more likely to purchase music than the average, non-P2P-loving user.

As a legalized version of file sharing, LendMe may have the potential to actually spur more ebook sales. And ebook sales are most definitely on the rise according to quarterly reports by the Inernational Digital Publishing Forum (IDPF). On January 21st of this year on the Smashwords blog, Smashwords founder Mark Coker says of the quarterly report for period ending December 2008:

The IDPF today reported ebook sales were up 108% for the month of November, 2008 compared to the same period a year ago…

Dig beneath the surface, and the numbers are striking. Ebook sales are surging while the entire trade book industry suffers a decline…

For the five years between 2002 and 2007 (Click here for data, opens a PDF), overall trade book sales averaged an annual increase of 2.5% (lower than inflation, which means unit sales probably decreased), while ebooks for the same period turned in a 55.7% average annualized increase.

Granted, the robust sales growth for ebooks was off of a tiny base to begin with. But…fast forward to October of 2008, the date for which year-to-date sales are reported on the AAP web site , and you see overall trade book sales for the first 9 months of the year were down 3.4% while ebook sales were up about 58%. So the rate of ebook sales accelerated during the first 9 months of 2008 compared to the previous five years.

More interesting, for the month of October the AAP reported overall trade book sales suffered a 20% drop in the year over year monthly comparison, while ebook sales accelerated to 73% growth.

It seems that what we’ve got here is a mix of good news and bad news caught in a whirlwind of flux and guesswork. In the final analysis, I think there are only three things that can be said of ebooks with any certainty:

1) Digital books are here to stay

2) Publishers will not succeed in realizing the full potential of digital books until they can better comprehend the potential of the numerous media available to produce digital books, and consumers’ expectations of both the media and media providers

3) We have yet to see the best or final incarnation of the digital book; in the Vook and today’s ebook apps, we’re witnessing the infancy of a new type of book that is much more about dynamic content than it is about any specific delivery system (and we’re not just talking electronic files and gizmos – paper bound between two covers is a content delivery system, too)

Whether you’re a publisher, author or reader, you have a stake in the future of digital books and your opinion is no less valid than those of anyone quoted here. So, what do YOU think?

EBook Formats—Where are they Now and Where are they Going?

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For those of us who are more seasoned citizens, remember the battle between cassette tapes and 8-tracks? Remember the video format fights between VHS and Beta? Those seem very simple choices when considering what format choices we have today for ebooks. I certainly don’t claim to be the expert here, but hope those more knowledgeable will feel free to chime in with comments, which will expand our knowledge base. Please treat this as a forum.

According to my research there are quite a few methods to view ebooks, and, therefore, quite a few formats. What is a publisher to do? Stick to the most common format or publish his ebooks in several different formats? First, let’s take a look at some of the ebook devices, because they drive the formats. One term you should be aware of is DRM, or “digital rights management,” which refers to techniques that seek to prevent illegal copying or pirating of a digital work, like an ebook or music:

  • Computers (PC and/or Mac) which easily read the pdf format.
     
  • The Sony Reader primarily uses Sony’s proprietary Broadband eBooks (BBeB) format for documents with DRM but also supports RTF and non-DRM PDF.
     
  • The Amazon Kindle uses Amazon’s proprietary AZW format, which supports DRM.
     
  • Flip Book is an online connected technology that uses their proprietary format and plays on a computer (PC or Mac versions). It presents a 3-D appearance for those of us who like flipping pages and want something that looks like a book.
     
  • As the market expands, there will be more devices. For example, former HarperCollins President and CEO Jane Friedman has launched Open Road Integrated Media (ORIM) in partnership with film producer Jeffrey Sharp. They will use a proprietary format for their own devices. Barnes and Noble, not to be out done by Amazon, will be releasing a new device called the Plastic Logic e-reader. It will use the EPub format that has also been adopted by Sony. Yet Barnes & Noble’s e-bookstore won’t be accessible by Sony Reader. Amazon Kindle users won’t be able to download books from Barnes & Noble’s e-book store. And so the Tower of Ebook Babel continues to grow toward Heaven.

What’s A Publisher To Do?

First, in my opinion, it’s not worthwhile to use DRM features, because it treats all customers as potential pirates. That doesn’t make for good PR, and it adds more complexity to your sales process, which is never a good idea because it gives the customer the opportunity to become frustrated and opt out before the sale is made. Pirating is a problem, but it isn’t that big of one. Besides, pirates will always develop work-arounds, which may render DRM useless.

If you would like a free resource that rates all the different ebook formatting software packages, click here to obtain the Ebook Developers Association free ebook software comparison guide. Personally, for the time being, I will stick to a simple pdf version.

I’m going to wait for device dominance, unless the ensuing battle goes on for too long, then I will consider going to multiple format editions. How will I do that? By relying on a formatting service. One such that I found is Smashwords. Click here to learn how they produce multiple DRM-free format versions and publish the ebooks for you for 15% of the retail price. I consider that a good deal, especially if it takes you out of the fulfillment loop.

Ever the pragmatist, I have offered my approach; however, I easily could have missed something. So, here’s the opportunity for the experts to weigh in and present alternatives. As I said, please treat this as a forum.

Why Creating A New Habit Is So Hard

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This post, from Alex Schleber, originally appeared on his Business Mind Hacks blog on 9/30/09. It seems particularly apt with so many Publetarians trying to get into the habit of writing every day to complete their NaNoWriMo novels!

Leo Babauta of ZenHabits.com recently writes in his post The Habit Change Cheatsheet: 29 Ways to Successfully Ingrain a Behavior:

3. Do a 30-day Challenge. In my experience, it takes about 30 days to change a habit, if you’re focused and consistent. This is a round number and will vary from person to person and habit to habit.

Often you’ll read a magical “21 days” to change a habit, but this is a myth with no evidence. […] A more recent study shows that 66 days [may be] a better number […] But 30 days is a good number to get you started. Your challenge: stick with a habit every day for 30 days, and post your daily progress updates to a forum.

The reason why it takes at least around 30 days to form a new habit is a process in the brain called "myelination".

It’s the process of your mind forming a certain kind of sheathing around the neurons involved in a habitual thought or behavior, which acts in a way like electrical insulating tape: It makes the electrical impulses travel faster, thereby speeding up the functioning of the entire neural network involved.

Myelin is a whitish substance that actually gives the brain its typical color. Now before your eyes glaze over about this Brain Biology 101 stuff, think about why this is so important for all manner of changing old behaviors into new ones:

When a mental block of any kind is released, or on old way of doing things is unhinged, the new neural network connections that formed to make this happen are extremely tender at first. "Green shoots" are rock solid by comparison.

This is why a new behavior feels so difficult at first: It isn’t ingrained yet.

Due to the lack of the myelin the signals are traveling slowly and precariously. But if you keep at it and thereby keep tracing the new path, your mind will get the message and "grease the groove" of that neural network. Until the speeds are up to 200 times faster!

Only problem is, it takes at least 30 days to complete myelination to the extent that the new habit is really starting to become a habit. Anytime before then there is the danger of the new habit formation being abandoned. And of course, the myelination process may continue for quite some time after the first 30 days.

Read the rest of the post, which includes a link to a related article by Daniel Coyle, on Business Mind Hacks. And hang in there, NaNoWriMo’ers: by the end of November, you’ll have a completed novel and an ingrained writing habit!