Business End

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

Can I (Successfully) Be Sued for My Scathing, Cruel, Factually Misleading (but Very Witty) Review of Your Book?

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This post by Mark Fowler originally appeared on Rights of Writers on 6/19/14.

In a television appearance on the Dick Cavett Show in 1980, the novelist Mary McCarthy was asked which writers she regarded as overrated. McCarthy singled out the playwright and memoirist Lillian Hellman as “a bad writer, a dishonest writer,” and went on to say “every word she writes is a lie, including ‘and’ and ‘the.'”

As Franklin Foer tells the story, “when Lillian Hellman heard the quip in her bed, she laughed. By the time her assistant arrived for work the next morning, Hellman had called her lawyer, and set in motion a $2.25 million libel suit against McCarthy.”

Did Hellman have a legal leg to stand on? I’ll come back to that question in a minute.

There’s no doubt that a scathing take-down of a book or movie or other work of art can provide a wicked source of pleasure to both the reviewer and her readers. Some deliciously disapproving book reviews may be found in this collection of pans, this one, this one (focusing on harsh assessments of literary classics), and this one (featuring caustic reviews by New York Times critic Michiko Kakutani). At least two books have chronicled the history of bookish slam pieces: The Fine Art of Literary Mayhem and Rotten Reviews Redux. And there is even a Hatchet Job of the Year award for the “best” worst review.

But can a negative review of a book or film or other creative work go too far and give rise to a successful legal claim against the reviewer? The answer: yes, but (thank heavens) rarely. To make sure your reviews don’t plunge you into legal hot water, you should bear in mind the sometimes fuzzy line between constitutionally protected opinion and legally actionable libel.

 

Read the full post on Rights of Writers.

 

How Much Are Words Worth?

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This post by Scott Carney originally appeared on his blog on 4/27/15.

Writers tend to keep their thoughts in the realm of ideas rather than calculate the seemingly mundane matter of the mechanics of the trade. However, a few months ago I sat down in a Chinese restaurant with a friend of mine who writes for the New Yorker and we agreed to leave our narrative musings to the side and think about practicalities. We were going to try to figure out how much the printed word is worth in America today.

We wanted to calculate how many feature stories the top magazines in America assign every year, and how much they typically pay their writers for the assignments. The list was only going to be for the top publications in America–the ones that pay between $1.50-$5 per word and that comprise the top tier of journalism. These are the magazines that line the shelves of airport bookstores everywhere and the ones that we write for pretty regularly. Think The New Yorker, New York Times Magazine, Atlantic, Wired, Men’s Journal, Rolling Stone, Playboy, Vanity Fair, Mother Jones, O, The Atavist, and the dozen or so other magazines that sits on the tops of toilet tanks and the tables of dentist offices from Seattle to Orlando.

It was back of the envelope math at best, but as far as either one of us could determine, it was the first time anyone had tried to figure out how big the pie was for long form freelance writing in America. There are hundreds of amazing writers in the country, delving into stories that drive the national conversation on everything from politics to the cult of celebrity to human rights abuses to cutting edge scientific and technological discoveries. These are the types of pieces that we make a living on, and ones that, frankly, we feel are important to write.

After ten minutes listing the average number of features in each magazine multiplied by the number of issues annually we had a number: 800. On average these stories would run at about 3000 words and pay $1.50 per word. It was only a ball-park estimate of the overall freelance writing market cap. But it was also a rather depressing one. Let me put this in bold so it stands out on the page.

 

Read the full post on Scott Carney’s blog.

 

Secrets Of A Small Press

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This post originally appeared on Mysterious Matters: Mystery Publishing Demystified on 5/5/15.

Can it really be two months since I blogged? Wow. Well, I always said I wouldn’t blog unless I have something to say, so I guess the last couple of months have been pretty thought-free.

The idea for today’s post came to me after reading about the death of Ruth Rendell, one of mystery’s luminaries. This isn’t something I’d necessarily say in public, but I didn’t like her work. Nor was I a fan of the late P.D. James, either. I found Rendell’s work to be cold, and James’ to be unbearably snobbish. Both had a tendency to write books that were much too long, and I suspect both women liked the sound of their own voices (words on the page) a bit too much.

Are you clutching your heart, gasping in horror that an editor who publishes mystery fiction should dare say such things? I should say that I love any writer who has a loyal following and whose name sells books; I’m not snobbish that way. But I recognize that an effective brand name doesn’t necessarily mean that I have to like the brand myself. Would I buy stock in Pepsi? Sure I would, but I never touch the stuff. I’m a Coke man.

Anyway, this crazy desire to admit that I think both Rendell and James are overrated made me think about the other “secrets” that we small publishers keep close to the vest (but not any longer). Here are a few:

 

Read the full post on Mysterious Matters.

 

Was This Review Helpful To You?

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This collection of ridiculous and maddening book reviews was curated by Rebecca Makkai on Ploughshares on 5/29/15. A tip of the hat to freelance editor Jim Thomsen for sharing it on Facebook.

one star
Oh, where to even start? I wanted so badly to like this book. The New York Times called it “a trenchant masterpiece,” and it has blurbs from three Nobel Prize winners. So I had sky-high expectations. I anticipated a book that would change my world, that would help me lose twelve pounds and make clear the meaning of life and cure my husband’s erectile dysfunction. This book, while excellent, did none of those things. Threw it across the room on page 20. Ugh. Will not be reading this author again.

 

one star
The paper was rough to the touch, and after just three weeks the back cover ripped. Also, the book was “like new,” not “new.” Regret ordering from vendor BookXPress314. Do not recommend!!

 

one star
The author, a known Liberal, has a clear agenda here in including an African-American neighbor and a “lesbian” boss. I read to be entertained, not to have someone’s politics shoved down my throat. I was going to pass this on to my sister, but instead I recycled the book.

 

one star
I expected this book, which won the Story Prize and the PEN Malamud award, to be a new favorite. Apparently one of the chapters won an O. Henry award, and O. Henry is a highly respected author. But each chapter started off with a completely new set of characters and even a new title! I didn’t see any connection at all between the various chapters. One took place in 1873, and one was set on a distant planet in the future. I worked so hard to find the connections between the chapters, and just couldn’t find one. Too much work, gave up.

 

Read the full collection on Ploughshares.

 

The Telling Signs of Content Flops, and 6 Ways To Fix Content Marketer’s Worst Nightmare

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This post by Olsy Sorokina originally appeared on the Hootsuite blog in 3/15.

Even the best-love brands have their haters—that’s unavoidable. So for marketers, it’s often better to focus on being memorable and stand out from the crowd. Think of all those commercial jingles that just won’t get out of your head, or anticipation of products associated with the coming of a new season (Pumpkin Spice Latte, I’m looking at you). Brands that achieve this do so by straying off the beaten path. Marketing guru Seth Godin calls this “finding your purple cow,” a term inspired by a short 19th century nonsense poem and used by Godin to describe being remarkable, and succeeding in advertising by thinking outside the box.

Should you be thinking about finding your own brand’s purple cow? Finding that truly unique way of telling your story means taking risks and surprising your audience. That means the first step down the path to a more memorable bovine brand is to figure out if you’ve been boring your followers.

 

3 warning signs that you might be boring your followers:

1. Your Twitter engagement rate is low

Once Twitter has rolled out their analytics tools to all users, determining how well your messaging is performing on the microblogging network is easier than ever. Perhaps the most telling of all metrics available to users is the engagement rate, a number calculated based on the number of impressions (i.e. how many people saw the Tweet) and the number of engagements (link clicks, favorites, retweets, etc.) with your Tweets. Obviously, the higher the engagement rate, the better you’re doing. We experienced this ourselves when we doubled our Twitter engagement rate in two months.

 

Read the full post, which includes two more signs you may be boring your readers and six tips for fixing boring content, on the Hootsuite blog.

 

10 Things Authors Learn The Hard Way…

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This post by Diane Hall originally appeared on BDAILY on 5/25/15.

Writing workshops and books, professional advice, even Google, won’t answer every question an author may have. Some knowledge can only be gained by personal experience. The following list stems from genuine reports by authors I’ve either spoken to or worked with, across the globe. Individual points are not meant as sweeping statements; there may be a good portion of authors who have different outcomes and opinions. Nevertheless…

No one but you cares as much about your book

Agents, publishers and publicists – and especially readers – don’t have the same emotional investment as the author of a book. They might just as easily prefer another book on the same subject, or easily forget your title altogether; with over 14 million books to choose from, that yours will be the best, most unique book they’ve ever come across is unlikely. Dump the ego, and work on enticing them to look at your book in the first place. Help them to make their buying decision, don’t just assume that once seen, automatically sold.

Traditional publishing is not better than self-publishing

Yes, TP has a lot going for it, but it also has its downsides. Sacrifices to become a TP author may include your book no longer being recognisable to you, little control over the book’s aesthetics, a long, long time to market and vastly reduced royalties. That’s not to say self-publishing doesn’t have any cons; TP and SP are essentially just different ways to publish that should each be thoroughly investigated.
 

Read the full post on BDAILY.

 

Kindle Scout

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This post by Polly Iyer originally appeared on The Blood-Red Pencil on 5/20/15.

My book, Indiscretion, has been on Amazon’s Kindle Scout program for an entire week as of today. It’s been on and off the “Hot and Trending” list, which I guess is natural. This is measured by how many people read the sample and nominate my book during a thirty-day period. I’ve done some promotion, but there’s a fine line between promo and overkill. I try to be cognizant of where that line is. That said, self-promotion has never been an easy fit for me.

So what is Kindle Scout, you ask? This is from the Kindle Scout website:

“Kindle Scout is reader-powered publishing for new, never-before-published books. It’s a place where readers help decide if a book gets published. Selected books will be published by Kindle Press and receive 5-year renewable terms, a $1,500 advance, 50% eBook royalty rate, easy rights reversions and featured Amazon marketing.”

Bloggers have debated the pros and cons of the program. From my point of view, the answer depends on where you are in the publishing world. I’ve self-published seven books with Amazon. The difference with Kindle Scout, besides the nice advance, unheard of for an indie writer, is the strength of Amazon’s marketing that I wouldn’t get otherwise.

 

Read the full post on The Blood-Red Pencil.

 

Whose Game Are You Playing?

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This post by John Pettigrew originally appeared on Future Proofs on 5/4/15.

We hear a lot about Amazon, the new giant in the playground. But Amazon may actually be the least of the industry’s problems, because they at least play by rules we recognise. There are plenty of other giants out there who are playing entirely different games – but who may still stomp all over our playground. The question is, what do we do about them?

The publishing industry feels under threat from a lot of places these days. And the most commonly mentioned cause of this fear is surely Amazon. Starting off as just another book retailer, Amazon has grown hugely and very cleverly to become a true global giant.

Amazon seems to be the kid everyone’s afraid of – bigger, stronger, and not afraid to use its muscle to get what it wants!

Playing by the rules
However, Amazon is still playing in our playground, basically working with the same rules publishing companies are used to – getting books to customers more effectively and more cheaply than ever before. This is a game that publishers understand and play all the time. And we can see this by the way that publishers and Amazon are always talking about this or that, arguing about a particular situation and coming to new agreements.

The problem, it seems to me, is that Amazon isn’t actually what publishers should be most worried about. We fear Amazon, I think, because we understand it pretty well and so can predict clearly what effect its actions are going to have on us.

 

A different game
The true danger may not be Amazon but other giants who are playing entirely different games. Companies like Google and Facebook, who use content (including content from publishers) as part of their business but who don’t really care much about that content because their real business is selling advertising.

 

Read the full post on Future Proofs.

 

How to Price Your Work on Amazon

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This post originally appeared on Writer’s Circle.

So you’ve decided to publish a book on Amazon (and hopefully read our helpful guide for doing so). Before those pages hit the presses – or the Kindles – you’ll need to price your work on Amazon, and we’re here with a bit of advice on finding the right price for your readers.

Think about your motive. This is a great tip from Publishers Weekly, which advises writers to think about the purpose of their book: readership or revenue? Ideally, of course, you could get both, but a lower price will likely earn more readers (e.g. people will be more willing to try a new e-book author when the price tag is only a buck or two) while a higher price could earn you more revenue. The latter is true, of course, especially if you already have an established fan base – but many new authors prefer to price on the lower side to attract new readers.

Consider paperback vs. e-book. E-books should not cost as much as paperback books, for two reasons: Firstly because fewer resources are needed to publish the work, and secondly because research shows that expensive e-books don’t sell well, according to Mill City Press. While paperbacks can easily find success priced above $10, e-books do best when priced between $2.99 and $9.99 – in fact, PBS says $3.99 seems to do really well.

 

Read the full post on Writer’s Circle.

 

Do's And Don'ts On Writing A Book Blurb

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This post by Nicholas C. Rossis originally appeared on his site on 5/2/15.

The inspiration for this post came from a little gem I found on the Passive Guy’s Newsletter (if you aren’t already a subscriber, what are you waiting for? It’s free!). After some heavy editing, it ended up as this post.

The original post came from the Self Publishing Review, if you wish to see it in its entirety.

 

Writing a Book Blurb
By far, the weakest part of many self-published books is the synopsis*. Writing a decent blurb is an art form totally separate from writing a book.

Authors, myself included, often feel this is their least favorite part of the process. It can make you feel icky writing superlatives about your own book. At the same time, too many superlatives can literally be icky (“A work of genius” comes to mind). A good blurb needs to strike a balance between being informative, but not too informative, salesy, but not too salesy, while somehow seducing a stranger into spending money. It’s difficult, to say the least.

That said, there are some very common errors that show up time and again, and are pretty easy to change.

 

Read the full post on The Power of Six.

 

A Story of Three Authors (A Cautionary Tale)

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This post by Karen Dionne originally appeared on Pub Rants on 5/8/15.

In a perfect world, every literary agent would be a fearless negotiator, working tirelessly to get the best possible book deals for his or her clients. But the world isn’t perfect. And sometimes an author’s career goes off the rails because their agent doesn’t have the knowledge, skills, or tenacity necessary to negotiate well on the author’s behalf.

Author #1 had a six-figure offer from a major publisher for the first three books of his self-published middle-grade series. He also had no agent. The publisher recommended several, and the author signed with one. Sadly, the agent did not negotiate better contract terms. This meant the author now had to give the agent 15% of the exact same six-figure deal he’d set up himself.

The author hoped the agent would earn his commission going forward by advocating for the book during the publishing process. But in time, the author realized his agent wasn’t doing anything he wasn’t already doing himself. He terminated the relationship and negotiated the next three-book deal without an agent.

As the time neared for the next contract, this author still felt he could get a better deal if a savvy agent negotiated on his behalf. He interviewed carefully and signed with an agent with an excellent reputation who was also a fan of the author’s work. The agent soon learned what the publisher hadn’t yet told the author: sales were soft, and there wasn’t going to be a third offer.

 

Read the full post on Pub Rants.

 

Amazon Sues To Block Fake Reviews On Its Site

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This article by Jay Greene originally appeared on The Seattle Times on 4/8/15.

Amazon.com sued three websites it accuses of purveying fake reviews, demanding that they stop the practice.

The suit alleges that the glowing product evaluations they provide deceive consumers and harm the sellers on Amazon’s site who don’t game the system.

The suit, filed Wednesday in King County Superior Court, accuses Jay Gentile of California and websites that operate as buyamazonreviews.com and buyazonreviews.com, among others, of trademark infringement, false advertising and violations of the Anticyber­squatting Consumer Protection Act and the Washington Consumer Protection Act.

“While small in number, these reviews threaten to undermine the trust that customers, and the vast majority of sellers and manufacturers, place in Amazon, thereby tarnishing Amazon’s brand,” according to the suit.

The site buyazonreviews.com, which the suit claims is run by Gentile, didn’t respond to a request for comment. But Mark Collins, the owner of buyamazonreviews.com, denied Amazon’s claims.

 

Read the full article on The Seattle Times.

 

Welcome to the Shark Tank

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This post by Rachelle Gardner originally appeared on Books & Such on 5/5/15.

If you’re a writer trying to wrap your mind around the business end of publishing, I hope you’re watching ABC’s Shark Tank.  The show has nothing to do with publishing. But it has everything to do with understanding exactly what you’re doing when you put your query or proposal in front of an agent, editor or publishing committee. You’re going into the shark tank.

The program features venture capitalists looking for businesses in which to invest. The contestants are entrepreneurs with small businesses needing capital. Each contestant stands before the “sharks,” pitches their business, specifies the amount of money they’re asking for, and what percentage of their business they’re offering for that investment. So a guy might ask for $65,000 in return for a 15% stake in in his business; or $150,000 in return for a 30% portion of the company. The sharks get to decide whether they want to invest in the business, and they’re free to negotiate any way they want.

I love this stuff! I’m constantly noticing all the ways the whole scenario resembles publishing. When you’re trying to take your writing out of the personal realm of art and into the public realm of commerce, you’re just like these entrepreneurs asking for others to invest in them.

You’re asking a publisher to invest in you.

 

Read the full post on Books & Such.

 

Everything You Need to Know to Set Up Your First Twitter Chat

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This post by Matt Diederichs originally appeared on the Hootsuite blog in 4/15.

You see the hashtags on Twitter every week: #SBizHour, #MediaChat, #CMGRHangout, and on and on. These tags refer to Twitter chats, one of the best examples of community building on Twitter. Using a shared hashtag, users meet at a pre-determined time to discuss issues of community relevance. These chats generate tons of conversation, and build deep connections between the people partaking and brands who host.

That kind of engagement has benefits for brands and personal brands alike. A successful Twitter chat community builds advocacy, loyalty, and community with participants. You’ll grow the social following of your accounts, generate valuable discussions and feedback, and show thought leadership with an outspoken audience.

Could you host your own Twitter chat? It’s not as simple as you’d think, but we’ve got your back. Here’s your step-by-step guide:

 

Before Your Chat

As tempting as it is to just jump in, you’ll need to build a plan. We recommend you consider well thought-out answers to the following questions:

Why am I hosting a chat?

 

Read the full post on the Hootsuite blog.

 

S&S Tries Geo-Targeting in New Marketing Outreach

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This post by Calvin Reid originally appeared on Publishers Weekly on 5/13/15.

In the latest effort to enhance book discovery, Simon & Schuster is partnering with mobile content delivery service Foli to offer customers complimentary access to a selection of full-text e-books in airports, museums and hotels around the country. Beginning May 15, David McCullough’s The Wright Brothers will be a feature selection at the National Air & Space Museum and 50 venues around the country. Another 18 titles will be available though a select group of hotels and airport lounges.

The new service relies on Foli’s location-based wireless technology, which allows the the delivery of a single title, or group of titles, to a specific geographic location. In order to access the e-books in the program, customers can download the Foli app to their iOS or Android device and read a full-text version of any of the books.

The availability of the e-books will last for three days while they are being accessed at the targeted venue.

 

Read the full post on Publishers Weekly.