How Nonfiction Self-Publishers Can Become Keyword Naturals

Recently I wrote a post about how self-publishing is a perfect long-tail business. As I said there,

As publishers, we can use this information to our advantage. Google and other search engines make available the actual search terms that people type into their search field. This powerful information is studied by internet marketers under the term keywords. An author who understands keywords, how they are used, and how to target the people who search on them, can go a long way toward making his nonfiction book a success.

Now I’d like to take a closer look at keywords and how they can help the nonfiction publisher.

Web Presence First and Foremost

Before we can address keywords, though, I have to say something about web presence. This is, for many self-published authors, the beginning of their platform building efforts. Most of the people I see entering self-publishing have little or no web presence before they begin the publishing process.

Maybe they have a personal blog, or a website connected to a business. But I’m talking about an actual personal presence on the web and in social media. That includes:
 

  • active blogging on your specialty, and or
  • Facebook marketing through fan pages and regular updates, and or
  • developing a Twitter profile and connecting to people with similar interests, and or
  • connecting on other sites appropriate for your subject area. Lots of business-oriented publishers congregate on LinkedIn, for instance, and there are subject-oriented online communities centered around most topics.

As an author in whatever field you write in, you need to become familiar with these social settings. This is where people interested in your topic “hang out” and where you can learn what their interests, their problems, and their needs are. And they can get to know you.

Interacting in these social media spaces helps to establish your expertise as well. All of these efforts will bear fruit when it comes time to market your book.

The Big Funnel

With some kind of presence on the web, with a central location you can refer people to when they express an interest in your book or your niche, you are ready to look at keywords. Why? Because every nonfiction author has goals, and those goals are usually dependent on finding more readers.

Your challenge is figuring out how to find the people looking for your book, even though they may not even know it exists. Going back to my example of pizza baking, if I’m publishing a book on the best way to bake pizza at home, I want to find the people who are already looking for that information. Pizza is the number one fast food in the United States, outselling burgers, tacos, burritos and every other form of fast food, so we know pizza is popular. We also know more and more people are interested in cooking at home, in slow food, and in artisinal food preparation.

This is where keywords comes in. Keywords are really nothing more or less than the terms that people use when they are searching for something. But which keywords will work for a nonfiction author of a book on home pizza baking? Single keywords—like pizza—are virtually useless for us. They are too general. If you search on that keyword, most of the results you’ll get are for local Domino’s, Pizza Hut, Little Caesar’s and so on.

Here’s where I’m going to introduce you to a great free tool you can use to investigate your own specialty area. It’s the Google Adwords Keyword Tool. There are lots of keyword tools available, but this one is free and easy to use. It’s a great place to start.

Going Google on Keywords

 

self-publishing nonfiction is keyword friendly

Click to enlarge

Google provides this tool for people who want to advertise with them because their AdWords program is a way to “buy” keywords and the searches that are made on them. But let’s take a look at the tool itself:

You can see I entered the phrase “baking pizza” in the entry box. I put the phrase in quotation marks because I want only results that mention this exact phrase somewhere. In the bottom half of the window you see the top of the results list. Looking at the top line, for instance, we see that “bake pizza” was searched for in the previous month 33,100 times in the United States, in English. The green bar indicates that advertisers are bidding on this term to capture traffic from people typing “bake pizza” into a Google search bar. This is also how Google’s software matches its ads to your searches.

But the real value for niche marketers is in going down, down, down the list to find the real treasures. This is where you’ll learn more about your target market, the people most likely to be interested in your book and your other programs associated with it. Below this section is another section Google calls “Additional Keywords to Consider.”

The list starts with short keywords, like baking stones and pizza ovens, highly sought-after keywords for companies looking to capture searchers looking to make a product purchase. Farther down, the phrases get longer. This is where you start traveling out the long tail of this search. Now we encounter active search phrases like these:

 

  • making pizza dough, 5,400 searches
  • wood burning pizza ovens, 1,900 searches
  • pizza dough recipes, 27,100 searches

Keep in mind that each of these longtail keyword phrases can also generate more keywords. For instance, if I enter “making pizza dough” in the entry box and search again, I’ll get a whole new set of keyword results, one of which is “quick pizza dough,” with 8,100 searches a month.

In the next installment, I’ll show you how you can use this very exact information that Google makes freely available about the searches run through its software. And just how powerful this kind of information can be for the nonfiction author who knows how to use it.

Takeaway: Nonfiction self-publishers are in an ideal position to take advantage of keyword marketing once they’ve established a presence on the web.

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

Building On The Momentum

The next book I wrote after "Hello Alzheimer’s Good Bye Dad", about caring for my father, was "Open A Window" – ISBN 1438244991. A caregiver’s handbook that is used to train CNAs in long term care and as an ice breaker at Alzheimer’s support group meetings. This book I actually had printed at a print shop. I’m very proud of the book for the help it has been.

In 2000, residents family members would stop to ask me questions about why their loved one said things like they hadn’t been fed all day. Sometimes, the family couldn’t understand the behavior problems or the sudden declines. I remembered the days when I wanted so much to know about Alzheimer’s disease in order to help my father. By 2000, the Alzheimer’s Association was well known and very helpful if families contacted them. In some cases that didn’t happen. Not realizing how devastating the disease would become, the relatives didn’t bother to become educated until they were surprised by devastating events. I decided I need to write a book that would educate the families that I came in contact with at the nursing home. Little did I know that the book would go much farther than that.

Over the years, I had 100 copies printed, sold those and had another 100 books printed before I self published the book last summer. To go along with publishing the book, I asked Jolene Brackey a well known author and speaker about Alzheimer’s if she would give me a review to put on the back of the book. Now how did I get the nerve to ask for that review? The administrator at the nursing home had sent one my book to Jolene. She liked it so much she called to ask me if I would let her use some of my stories in her next book "Creating Moments Of Joy". What an honor. Of course, I said yes. About three years ago, Jolene was in the area doing her presentations. I went. Jolene waved her book around as she told the audience if we wanted one we would have to buy it from her website. She only packed one for the plane trip. As I was leaving that day, she stopped me and handed me that signed book. She had brought it for me. So when I published my book "Open A Window" I thought I’d ask her for the review, and I got it.

Jolene’s review – "This book shares what is possible if we allow a person with Alzheimer’s to "be" who they are right now. Thank You for "opening" a window."
 

For more about Jolene Brackey visit her website http://www.enhancedmoments.com

In August of 2002, I was asked to be the first speaker for an evening session for CNAs at the Alzheimer’s Association’s annual conference. Due to the fact that I mentioned CNAs don’t get enough education about Alzheimer’s. They learn most of what they know by on the job experience. My presentation was "Many Hats" taken from the social worker’s call to me about my father in 1999. That presentation was a workout that signified how hectic our life becomes when we deal with sick parents, our family needs and work. I confiscated some of the better looking of my husband’s many farm caps. On each, I sewed a pink ribbon band with the words, wife, daughter, mother and CNA. ( Which I had to remove before my husband would wear the hats again.) As I told about my concerns and experiences, I took off one hat and slapped another on my head for emphasis. At the end of the speech, I showed the audience my book. The CNAs flocked to buy them. One woman was a social worker. For two years in a row, she took a box of my books to the social workers conference in Ames, Iowa and sold them. That is how my book wound up at the first CNA training. A social worker gave her book to an RN who trains the CNAs. The RN sent for more books.

Promoting doesn’t and shouldn’t end with the book sale. I live in the middle of farming country where book sale events are hard to find. Harvest is about ready to start. Winter is coming soon. The internet is my best and handiest method for promoting. I’ve just had a successful book sale. Now I can build on that and find ways to promote the fact that I am an author with books for sale.

I took my camera to the book sale and snapped a lot of pictures. The first pictures, my son took of me in my pioneer dress and bonnet and of my table after it was set up with stacks of books and the two posters. With these pictures I made an album on Facebook and other web sites complete with captions.

On twitter, I submitted messages about my book sale and later wrote to take a look at my album on Facebook. By the way, I am developing a following. I have at least two authors following me now – Stephanie Cowell and Steve Weber the author of Plug Your Book – online book marketing for authors: a book I have and use.

Every time I find a website for writer/authors I’ve signed up. In fact, I am on so many that I had to log them in a notebook with login name and password. I picked booksbyfay as a login name to show what I do. Having a list helps me keep track so I don’t forget to make entries on one of those web sites about a new book, a book sale or press release. Several of these websites have links to other websites where I happened to be registered so I can link what I do to be announced on those sites.

I’ve put a link to Publetariat where I could. Hopefully, internet surfers will come across my blog post on the front page. On Biblioscribe, I wrote two news articles. One article was about the success of my book sale. The other article was about my blog post "Preparing For A Book Sale" posted on the front page of Publetariat. That should get people to take a look at Publetariat and perhaps become interested in my blog. I keep readers of my blogs on myentre.net and blogger informed.

So don’t stop promoting after a book sale event. Keep finding ways to get your name out there until the next event. Then begin all over again.
 

This is a reprint from Fay Risner’s Books By Fay blog.

People Links

For me as an author it’s all about linking to people who may become potential book buyers. As a result, I’ve been rewarded with people who become my email friends and better yet want to be on my growing list of customers to notify when my latest book comes out.

Awhile back, I was emailed by someone belonging to the WeRead website. She linked that website to my blog, because she liked what I write about and thought others on her site might, too. My blog is a split between daily life in the country, mentioning my books and what I learn as I go through the process of becoming an author. Perhaps, some of the readers on WeRead will buy my books after they have gotten to know me and about my books through my blog.

This last week I had an email from printerinkcanon.com. If I would put a link in my blog from their website I’d get quite a bit of exposure. I was told there is 30,000 blogs on this site. Now I guess there will be 30,001. 200,000 visitors read blogs posted on that site. Now I have been invited to link to kodakprinterink.com. So maybe a few of the visitor hits from those sites will be on my blog to see what I’m all about. If they like what they read, maybe that will lead to repeat visitors and to book sales. At the very least after reading my blog, my name mentioned on the internet or on the cover of a book will already be familiar to my blog readers. Maybe that will make someone curious enough to buy one of my books to see how good it is.

 

I just made it into the line up of Iowa authors on Iowa Center for the Book website. That’s a good thing. My interacting in a community connected to MyEntre.net blog brought the site to my attention. I asked if anyone knew of websites in Iowa for Iowa authors and someone responded with three websites for me to explore. I like the idea of people checking for Iowa authors and finding my name and list of books among all the others. Some buyers like to buy books from authors in their area. Others want an author to do a presentation about their books which help gain exposure.

Over the weekend, I took the time to get into the mystery community in Amazon where I sell my books. I have several genre, but I don’t take the time to advertise that fact often enough on the different communities. The mystery subjects for conversation were right up my alley. A cozy mystery which is what I consider my mysteries. A less violent, less sex, and no swear words type book which mine are. A Miss Marple kind of book and that is the way I have always described my mysteries series. The five books are about a Miss Marple type person who happens to live in Iowa. So I posted in each place and came back with emails wanting to know if my books were on kindle. I thought the first one Neighbor Watchers was two years ago. I hadn’t made a sale so I decided no one wanted to buy that type of story. I investigated and found out I hadn’t filled out all the forms Amazon needed. By the way, am I the only one that spells out the state in the address form only to be told that it isn’t my state? After a few times of trying, I finally thought to abbreviate the state and the form went through. So I got back into the mystery community and posted that my book was in Kindle and emailed the two people who emailed me to ask so they could get the book. Now I know I have two customers for that book. My idea to put the first book in my mystery series on Kindle in the first place was to get customers that might buy the next four books in hard copy, because they couldn’t stop with just one book. Might not work that way if the buyers all describe themselves as Kindle addicts, but still they are going to tell others that they liked my stories. Maybe those people will buy my book.

One contributor on Amazon emailed me that my books sounded like Geezer Lit which is what she was looking for. I hadn’t thought of it that way, but it is true. While I was working at the nursing home in Keystone, I read the residents all of the mystery books. They identified with my elderly characters. When I started writing, I wanted to write books like I want to read. Plus, the people who live around me, friends, neighbors and families like the same kind of books I do so I knew I had a built in potential customer base in my area. Just to be sure I had posted in all the places I could in the mystery community, I searched for Geezer Lit. I couldn’t find it so I’m saying my mysteries are about Miss Marple like characters. Call the books whatever genre subtitle you want as long as you buy one. Next time I enter the mystery community, I’ll start a discussion about Geezer Lit.

Word of mouth links are great ways to sell books. Last fall, I had a three day book sale near my home. A man bought one book in my Amazing Gracie Mystery Series. He mentioned to his daughter 600 miles away that he wished he had bought all five books, because he liked the first one so well. His daughter emailed me, bought the other four books for her father for Christmas. Her husband’s grandparents live near me so I dropped the books off there for the woman pick up when she came for Christmas. That’s friendly customer service.

One day I was in the drugstore in a town near me. The clerk asked me what I had been up to lately. I said I write books. She wanted to know what kind. I told her, and she said she wanted to buy the first book in my Amazing Gracie Mystery Series. Another time I was in the store and the clerk said she wanted to buy two more in the series. Then later on, the clerk called me and ordered the last two be dropped off at the drugstore when I was in town. We take the local newspaper. I always read the library news to see what books are being added to their inventory. That library had bought three of books last fall, but didn’t ask for any others. Suddenly, I found my name and one of my mystery books on the list. Along the way, one at a time my books appeared in the library list. It puzzled me at first how that happened, then I realized the drugstore clerk donated her books.

The library in Keystone, Iowa is a link for me. I am a member so the library had me come for an author visit right away a couple years ago when I first published. They bought 15 of my books. Now when I meet someone in town they bring up how they checked out one of my books from the library and really liked it.

I’ve put a state public library list in google search and came up with email links to most of the libraries in that state. I picked the states that I sell most of my Amish books in and let them know that I’ve written Amish books and how to purchase them. I see a rise in sales by the next month.

 

I’ve learned to think where to place a free book now and then in hopes of getting more sales. Last year I gave away 20 at my high school reunion. Each book had a list of other books I’ve written tucked inside along with contact information. I sold more books as a result. Not because my former classmates know me well, but because they liked the way I wrote the book I gave them.

Two other places I’ve given a book, with a business card inside, is at a bridal shower and a baby shower. Gifts are passed around for all to see, including my book. Our niece and my friend were pleased to be able to say to the guests that they know the author well. Guests were curious and asked me guestions. That’s just one way of spreading the word and drumming up buyers.

This all seems like a slow start sometimes, but new self published authors don’t give up hope. It takes time to get your name and book known. Customers looking for a particular book keep watching the internet. You’ll find what you want. Thousands of new books are published each year and the internet is a great way to find them.

 

Book Signings

We all hear how important it is for authors to help market their books. Today I’m going to discuss one of the key marketing tools in the author’s bag of tricks—book signings. I’d especially like to focus on signings at independent bookstores for reasons that you’ll quickly see. As an independent bookseller who schedules a fair number of book signings, as an author, and as a publisher, I speak from years of direct experience. First, why should an author consider doing book signing appearances? What are their purposes?

  • Sell books
     
  • Introduce yourself to the bookstores and their staffs
     
  • Introduce yourself to the book buying public
     
  • Develop your platform or fan base
     
  • Meet nice people and experience new places

Sell books

If you are extremely lucky, you might sell enough books to pay your expenses to the event, ie. gas, vehicle wear and tear, meals, motel if far enough away, and most importantly your time. So, why bother? Because a good signing experience can be like a gift that keeps on giving long afterwards. If you are a self-publisher or an author writing for a publisher, this is really important. It is a way to give your books long legs, as we say in the industry. No one wants their books to “go out of print” in a few months. You would like to become recognized and desired for a long time. Book signings go a long way toward that goal.

First of all, never just do a signing. Always do a 20-30 minute book chat to start out. Explain how you came to write this particular book. Tell an interesting story about its writing or about the topic. Keep the stories positive. Nobody likes to listen to “downer” types of information. If you feel you must do a reading, keep it very short. I find that if you have a really good hook up front to lead out the book, read that. Pull your audience into your book’s pages. Whatever you read, leave them hanging—wanting to learn more.

Make your event memorable and entertaining—so much so that the attendees will buy books as gifts to family and friends as well as for themselves. I remember one wonderful cookbook author who surrounded her recipes with quaint stories about the recipes and the culture and time period from which they came. Several people bought one copy for themselves, left and took the time to scan the book, and came right back in to buy 4-6 more copies as gifts. What a great experience that was for this bookseller. I hand sold a copy to one lady after the signing. Two weeks later, she came back to shop at our store again, and I asked her how she liked the recipes. She said she had been too busy reading the food stories to have had time to try any of the recipes.

Don’t assume you’re going to sell a lot of books during the signing. You may not sell any. So, why do it? For all the reasons I will explain below. Our best signing ever was a Kansas University basketball star who had a autobiography written with the help of a ghost writer. He had appeared on a radio sports talk show the day before and mentioned he would be at our store for a book signing the next day. We had folks lined up around the block. We had to give out numbers to help keep order. Young teenage girls were hyperventilating as they approached him, and I thought I was going to have to catch a couple if they passed out.

We sold 350 books that day. To counter that experience, we’ve had signings where nobody came and no books were sold. One lady was a popular speaker. She had authored six books and was signing her latest. She had been a very popular speaker and trainer for several organizations in our community—in other words a well known and liked entity. We fully expected a really good turn out, but only two happenstance drop-ins attended. There had been way too many conflicting events scheduled in our community that Saturday that drew people away from ours.

We usually like to pre-order several copies of books for up coming signing events so we can display them in the windows and around the store. We try to hand pre-sell these before the event. We also ask the author to sign several books before he leaves so we can offer autographed books to our customers later on. Bookstores expect a 40% discount, just so you know. There are several ways they will purchase your book. Here they are in the order of preference:

  1. From their primary distributor (usually Ingram or Baker and Taylor) (no shipping costs involved)
     
  2. From the author
     
  3. From the publisher

If you would like to get credit for royalties but want to bring some books with you just in case, bookstores will be more than happy to replace them for you from what they order from their distributor or your publisher.


Introduce yourself to the bookstores and their staffs

This is the best reason I can think of to do a signing. Earlier I mentioned I’d focus of independent bookstores. Here’s why. Independents are passionate about books. They know their stock, what’s coming out soon or is just out, and what kinds of readers will like which books. The big chain stores just don’t do this. Their staffs are far less knowledgeable as a rule and they seldom do any hand selling. Books not displayed in the expensive high traffic areas (yes, publishers pay dearly for the right to be specially displayed) are doomed to compete with all the other books on the shelves, generally displayed with only their spines showing.

On the other hand, independent bookstore staffs love to hand sell. I have certain books in my store that I love to draw my customers’ attention to because I’ll have a better than 50% chance they will buy the books I point out to them. As an author, you stand a better chance of booksellers getting behind your book and passionately hand selling it if you make an appearance at the store and make friends of the owners, managers, and staff. I can’t stress this enough. It’s so important. Be on time, be helpful, be courteous, and don’t push too hard. Help customers be glad they met you at that store.

Introduce yourself to the book buying public

This is your public. give them positive memories and good impressions. Be clean, neat, and pleasantly interesting. Encourage writer wanna bees without committing to reading their works (you just don’t have time). Help them connect with you on a positive personal level. Be grateful they took the time out of their busy schedule to honor you with their presence. Do not hassel them, but if there is a lull, it’s OK to get up from your seat and gently let customers know you’re there for a signing. Usually they will ask you what your book is about. Be ready with your elevator synopsis. (In the 30 seconds it takes you to ride up to the 10th floor in an elevator with someone, be able to describe your book in a powerful way to them).

Develop your platform or fan base

This is one of several ways to get the word out about you. You’re not just there to sell your book, you’re there to sell yourself. Ideally, you want to create a viral movement centered around you as an author. You want folks to like you well enough to tell their friends about you. have literature about your book, which includes interesting information about you. Have little strips of paper with your social addresses such as Twitter, Facebook, blog, and your website. Have a guest book to capture their contact info so you can send them periodic information about yourself and your books in an email newsletter.

Meet nice people and experience new places

Have smell-the-roses moments. Enjoy the travel. Develop funny, if not good memories. I’ll never forget a Christian science fiction author from the Detroit area who drove 14-15 hours out to our bookstore for a signing where we only sold two of his books. I was devastated for him, but he was happy. he said, “I made this trip so I could personally shake your hand to thank you.” When I asked him what for, he said, “The book review you wrote for HeartlandReviews.com where you compared me favorably to the Left Behind series sold 5,000 books for me.” Wow, talk about a positive experience! We always like to point out our various excellent restaurants and museums in the immediate area that our authors might find pleasing—anything to make their visit memorable in a good way.

Hooking up to other events

  • Schools
  • Libraries
  • Book Fairs
  • Community speeches
  • Media Appearances

Schools

If you have a book of interest to children in schools, try to book yourself into schools as a lecturer. Contact a local independent bookstore and invite them to sell your book to teachers, parents, and even children. Try to arrange a signing at their store before you leave town.

Libraries

Do the same at libraries.
 

Book Fairs

See if one of the bookstores in attendance at the fair would be interested in an exclusive right to sell your book at the fair. Make it easy as possible to obtain and sell your book. DO NOT FORGET TO PICK UP ANY UNSOLD COPIES FROM THEM BEFORE LEAVING!
 

Community speeches

Invite an independent bookstore to sell your books at any public appearances you make. You should focus on your talk and not worry about the book sales. They’ll handle it well for you.
 

Media Appearances

Don’t forget to mention upcoming book signings—where and when—whenever you appear on radio, TV, or in the newspapers before the events. Take advantage of this free publicity.

In conclusion, book signings are necessary and can be fun. Do not be an introvert! Shy? FAKE IT! Best of luck on your real life book tour.

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

Adventures In Self-Publishing

This post, from John Sundman, originally appeared on Self-Publishing Review on 3/24/10.

I’ve been self-publishing novels for a little more than ten years. I’ve had some successes–for example, I’ve won the Writer’s Digest National Self-Published Book competition and I’ve sold more than 6,000 copies of my books. But I’m not a self-publishing rock star and I still dream of doing much better.

Here’s an essay on some things I’ve learned in ten years of doing this. Other versions of this essay appear elsewhere on the net, most recently on my site wetmachine.com, from whence you can download versions of my books for free if you feel like checking ‘em out.

This is mostly an essay about “publishing” in the traditional sense of books printed on paper. I welcome any related discussion about ebooks, web publishing, intellectual property & digital copyrights and so forth that may come up in comments. But when I say “publishing” herein, I’m talking about old-fashioned books.

The Books

I published my novel Acts of the Apostles in late 1999, the novella Cheap Complex Devices in late 2002 and an illustrated dystopian phantasmagoria called The Pains in late 2008. Depending on how you reckon, this venture has been a stunning success, a qualified failure, or something in between. I’ve sold about 6.5k copies, total, of my books. In any event, I’m working on my fourth novel Creation Science, and I intend to publish it before the summer comes (unless a big publisher buys the rights first; see below).

All of these books are available under Creative Commons license for download from Wetmachine (no DRM, no registration required), so you can read them for free.

Background: a tad more on novels and why I published them myself

My novel (”AofA”) is a geeky paranoid technothriller ostensibly about nanomachines and Gulf War Syndrome. This Amazon review sums it up pretty well:

This book is a far-fetched story about mad geniuses, cutting edge technology, world domination and a couple of lovable misfits (computer geeks, at that) who try to thwart them. In broad daylight, you know it can’t happen, but after dark you’re not so sure. I couldn’t put it down. It’s the book Neal Stephenson and Robert Ludlum might have written if one of the evil geniuses of this book had cloned them into one consciousness.

I’ve written elsewhere about what motivated me to write this book, and about how the process of writing and publishing AofA nearly destroyed my family. It is frankly embarrassing–make that humiliating–to admit how insane the whole deal was. However, my family and I seem to have weathered the ordeal OK– or actually we’ve come out a whole lot stronger than we went in. But here’s the key point: I only wrote and self-published AofA because I was nuts. I’m glad I did it, but if you’re not nuts you should think twice before choosing me as a role model.

I tried very hard indeed to find a publisher for Acts of the Apostles. I had a very well respected literary agent representing me & he connected with some very well respected movie-rights agents. Together that team put in about $20,000 of work & materials on behalf of my book. We worked on it for three solid years. The agents covered those expenses out of pocket, by the way. They really thought it was going to be a blockbuster book/movie hit. But the point is, self-publishing was not my first choice.

Read the rest of the post, and check out the accompanying graphic, on Self-Publishing Review.

Alan Moore on Horror

I’m currently re-reading the old Alan Moore Swamp Thing books. This was a comic that had a couple of false starts and then, in the early 1980s, Alan Moore took over and completely renovated not only this particular title, but the concept of horror comics across the board. Alan Moore is one of those writers that constantly redefines a genre or a medium (Watchmen, From Hell, V For Vendetta, The Killing Joke just to name a few seminal graphic novel works).

I’ve been revisiting some of Alan Moore’s other work, which is what led me to his Swamp Thing stuff again. He picked up the Saga Of The Swamp Thing title in its new run at issue 21 in 1983. It’s the trade paperback collected edition (which has issues 21 to 27, shown above) that I’m currently re-reading. I was particular struck by Moore’s introduction to the book where he asks what horror is and why we have such a fascination with it. I was so struck by it, and thought it quite relevant to a lot of my own work, that I thought I’d reproduce a key part of it here. Particularly interesting is that this was written over twenty years ago and is still very relevant now:

In a century packed to the bursting point with paradoxes, one of the most puzzling must surely be the meteoric rise of horror as a genre in literature, cinema, and even music, all at a time when each day seems to make us just a little more conscious and aware of the real-life horrors unfolding all around us. While the faces of missing children stare from milk cartons, lines for the latest dead teenager movie are stretching ’round the block. While the AIDS virus sweeps through society with a chilling ease, born upon a colossal wave of ignorance and prejudice, the shelves of our bookstores creak beneath the weight of plagues and infestations filling the pages they’re forced to support – whether they be plagues of rats, slugs, crabs, or centipedes that characterize the nastier end of the market or the real thing, as presented in Stephen King’s The Stand. While radioactive clouds blow west and test-ban treaties go up in a mushroom of poisonous smoke, punk bands gob out splatter-movie imagery with a ferocity that at best signals hopeless defiance and at worse a perverse and nihilistic acceptance of the situation.

Like it or not, horror is part of our media, part of our culture, part of our lives – none of which answers the question of why an entire society should stand around engrossed, reading Dracula while up to their jugulars in blood. Do we immerse ourselves in fictional horror as a way of numbing our emotions to its real-life counterpart? Is it some sort of inoculation… a tiny dose of something frightening with which we hope to ward off a more serious attack in later life? Could it even represent a useful, if not vital tool with which we enable ourselves to investigate and understand the origins of horror without exposing ourselves to physical or mental harm? Whatever the answer, the fact still stands: horror fiction of one form or another is a major totem of the twentieth century. – Alan Moore

(c) 1987 DC Comics

And still that applies nearly a decade into the twenty first century.

I post this not so much to provide an answer than to provoke a debate. Everything that Moore says is true, perhaps even moreso now than it was then. Dark fiction in all its forms is still massive business, from the pop culture mass consumption stuff like Ghost Whisperer and Supernatural on TV to the more more cerebral dark fiction found on television, in books and in movies. It’s an eternally popular genre, even if it is something of a sub-culture.

Then again, I’m often surprised at the people that read and praise my books. It’s not all goths, emos and heavy metal fans that enjoy my fiction about demons, magic, death and mystery. It’s housewives and grandmothers too. Gentlemen and teachers. Very few people, if really questioned, are averse to a bit of darkness now and then. Some people have berated me because my stuff scared them and kept them awake, yet they still read it. Something compelled them. And my stuff isn’t really straight horror, designed to scare people. It’s dark fantasy, designed to peel back any veneer and reveal the dirty, gritty reality of the human condition.

It’s like a rollercoaster ride. We love to be scared. But why?

This is a reprint from Alan Baxter‘s alanbaxteronline site.

Amazon Builds Kindle Revolution with Guerilla Tactics vs. Conventional Warfare by Publishers and Competitors

There is a revolution taking place in what and how we read. Although it has been fired by movements and changes in technology that have been gathering for decades, it began in earnest on November 19, 2007 with the release of the Kindle. It might therefore be natural to think that this is a revolution about gadgets and technology, and which ebook reader or convergence device will win, but that would seriously miss the point.

In the long run, this revolution will be about what we read, our right of access to what we read, and the right of authors to connect with readers.

In most cases where there is a revolution, sooner or later there’s going to be a war, and it is now clear that there is a full-fledged war going on for the future of books, reading, and publishing. As is often the case, most of the participants would prefer not to be at war: for starters, readers would rather just read, and the big publishers and their most successful authors would prefer to return to some sepia-toned notion of the way things have always been. War is distracting and warlike behavior is unseemly, which is one of the reasons why it matters when New York Times reporters go all Judith Miller and regurgitate spoonfed publishing industry leaks that cast Amazon as the primary agent of threatening behavior in a controversy where, actually, all the players are playing hardball.

But while it is unfair to single out Amazon for "threatening" behavior, it would be silly not to realize that it is Amazon that is the revolutionary force here: it is Amazon that has taken the pulse of its current and future customer base and decided that we, those readers and customers, will insist on new ways to read, new forms of access to what authors are writing now and have been writing for centuries, and economic efficiencies that will better serve readers and authors (as well as Amazon itself). The Kindle is the magic that is making it possible for Amazon to deliver most, or much, of what it believes readers will insist upon, because it is, at once:
 

  • a reading device
  • an increasingly ubiquitous multi-device reading platform
  • an online bookselling and content delivery system
  • an astonishingly accessible and ultimately meritocratic direct publishing, distribution and marketing platform

By bringing out the Kindle and engaging customers with it well in advance of the existence of a mass appetite for its features, Amazon has achieved first-mover status and shaped an increasingly broad-based appetite for the Kindle’s benefits. At the same time, it has built a critical mass of customer loyalty and perhaps even turned the name of its device into the noun and verb by which we may know all ereaders and ereading in the future: I kindle, you kindle, we kindle, each of us on "one of those kindle things." If ever there was a trademark that its holder should be willing to set free, the Kindle® may be it.

None of that, of course, is very appealing to the big publishers or, in general, to Amazon’s bookselling competitors. The big publishers have not wanted ebooks, ebook readers, or any changes in the traditional gatekeeping and distribution channels for books. Barnes and Noble, late to every party, did not want to create and sell the Nook any more than it wanted, a few years after Amazon’s launch, to open an online bookselling website. And the extent to which Apple wanted to launch iBooks was pretty clear when Steve Jobs told the Times in January 2008 that the Kindle’s "whole conception is flawed at the top because people don’t read anymore.” Nearly all of these players have been dragged kicking and screaming, and unfashionably late, to the ebook party.

 

So the publishers and Apple and other Amazon competitors are fighting back hard with the most conventional and traditional tactics of business warfare, including:
 

 

  • price-fixing collusion
  • supply-chain manipulation and interruptions
  • duplication and cynical rebranding of products and features, and 
  • the use of fear tactics and disinformation to get authors and agents, with whom they actually share very little self-interest, to carry their water.

While it has also employed some conventional business warfare tactics along the way, Amazon’s fundamental approach to this war has been characterized by guerilla tactics, and guerilla tactics often win when the war is essentially a revolution. The most obvious area where these guerilla tactics are playing out involves authors and content.

Apple has been signing iBooks deals with (mostly) the big publishers, and those publishers may feel very confident in the short run to put their bestsellers up against scruffy upstart authors and indie publishers that bear, in some cases, the fading stigma of the self-published. But Amazon understands better than anyone else in the content business that nurturing "the long tail" can deliver significant revenues and occasional future bestsellers. The company that launched the Kindle is also supporting the expansion of the Kindle catalog by developing a remarkably diverse and potent infrastructure aimed at bringing authors, independent publishers, and other content providers directly onboard through a variety of channels including:
 

Not that Amazon is concerned only with the long tail of Kindle content sales. Kindle owners are not only Amazon’s best customers; we are, almost by definition, the book-buyingest people in the world. We buy a ton of bestsellers, and bestselling authors and their publishers who have made millions of dollars over the past couple of years on Kindle downloads are not likely to turn up their noses at those growing revenue streams.

"Amazon has built up a 90 percent share of the American e-book [content] market," according to the Times. That market share may fall to less astounding levels over the next few years, but it is likely to remain at high enough levels that many authors — from the very successful to the emerging — will be inclined to make direct or even exclusive deals with Amazon if they determine either that
 

  • their publishers are not playing nice with the Kindle, or 
     
  • the "10 to 25 percent of net proceeds" Kindle sales royalties offered by the big publishers look rather anemic next to the "70 percent of gross sales based on suggested list price" offered directly by Kindle’s Digital Text Platform (beginning in June). 

It will be interesting to see how this migration away from publishers-as-middlemen unfolds, and there are a range of possibilities:
 

Amazon’s ownership of the long tail supports an ebook ecosystem in which an astonishing number of author’s success stories are blooming and then, in the evangelical retellings by authors like J.A. Konrath, inspiring other established authors to take note and consider new options. As Amazon becomes increasingly aware of the importance of luring authors to interact directly with its Kindle Digital Text Platform without the intermediation of corporate publishers, it would be wise to build on the promise of forthcoming 70 percent royalties and take further steps to level the playing field between its DTP and its offerings to corporate publishers, including parity in access to such things as zero-priced book promotions. Amazon could also do much to strengthen and protect its Kindle content market share by taking two steps that seem mind-numbingly obvious given the fact that the company already owns Amazon Associates and Shelfari:
 

  • restore Amazon Associates affiliate commissions to Kindle content (the only major part of the Amazon website where they are disallowed), even if at a lower percentage than the 10% that Amazon applied to Kindle content for the first year or so after the Kindle’s launch; and
     
  • integrate Shelfari, which bills itself as "the social network for people who love books," fully into the Kindle reading experience. (The most natural way to build on these two necessary features, of course, would be to provide ways for Kindle owners to receive account credits when their Kindle device and book recommendations to other Amazon customers result in purchases.)

 Meanwhile, publishers are fighting a conventional, old-school war to prop up their hardcover sales and their traditional wholesale and retail distribution channels, but as Michael Mace made clear in a brilliant speech at O’Reilly’s most recent Tools of Change conference, "the real threat to [publishers] is the likelihood that in the future authors will publish their books directly to the public, bypassing the entire publishing value chain:"
 

We’re likely to have a latency period of at least several years while the e-reader installed base gradually grows. During this time nothing terribly dramatic will happen to publishers, and they may think they have the situation under control. But then we’ll reach a tipping point, and suddenly established authors will have a financial incentive to go direct rather than bothering with paper publication of their books. Once that happens, all book buyers will have a very strong incentive to get e-readers — some books by bestselling authors simply won’t be available in paper form, or will be available first electronically. This will drive more rapid sales of e-readers, which will give authors even more incentive to bypass the publishers. 

Once the dam cracks, the water will move very quickly.

In making its (so far) largely successful pitches to publishers that they should sign ebook deals with its iBooks store for the iPad, Apple has built its argument upon what could be, for the publishers, a potentially fragile premise. This premise is that Apple’s iBooks store will quickly become such a serious market share competitor to Amazon’s Kindle Store, in actual ebook content sales to actual readers, that new iBooks revenues will replace lost Kindle Store revenues. The challenge for Apple becomes impossible if Amazon employs its "nuclear option" of deleting those publishers’ buy buttons across the entire Amazon website. Then, Apple’s new iBooks revenues (combined with other book sales displaced but realized somewhere) would have to replace the publishers’ lost Amazon Store revenues in toto, which might be as much as 20 percent of total book sales.

I do not mean to discount Apple’s truly impressive market power and digital ecosystem, but for Apple to deliver on either of these challenges would be a very tall order. Amazon already has an installed base of over 3 million Kindles, and the reports seem to have been that after over a year of delays, hype, and pent-up demand, there were somewhere around 125,000 first-day iPad pre-orders. That seems a little underwhelming, but I’m perfectly prepared to grant the possibility that the iPad and the Kindle will each finish 2010 with an installed base of 5 to 6 million units.

But who knows how many prospective iPad owners are serious readers or will be serious ebook buyers, and who knows how many of them will choose the iBooks store over the Kindle Store? As of yet, nobody has ever bought a book from the iBooks store, and nobody has ever read a book in the iBooks environment. Among those loyal Apple customers who are regular readers and book buyers — whatever percentage that is — it seems likely that a relatively large portion are also loyal Amazon customers. Prying those customers loose when they have had nothing but good customer experiences with Amazon will not be easy. Most people who buy expensive gadgets are not gadget zealots; they populate the great middle and are likely to own and use several different kinds of devices and numerous online websites and services.

Beyond the question of the device itself, of course, Amazon has been achieving brilliant success at another kind of guerilla warfare. While new-kid hardware manufacturers (and, believe me, I do not include Apple here) have been breathlessly copying and trying to improve upon the Kindle and its feature set, they consistently miss the point of the four Cs that have made the Kindle, so far at least, unbeatable: customers, catalog, convenience and connectivity. There are some very cool dedicated ebook readers being launched these days by companies that are not Amazon, but if you have found a way to imagine them taking over a large market share either of U.S. ebook devices or content, you are way ahead of me either in seeing or imagining the future. Meanwhile, among all the other devices that are not dedicated ebook readers — from PCs and Macs to the iPhone, the iPod Touch, the Blackberry, the iPad and various other tablets and Android devices — the Kindle for X app is either on the device or on the way.

So far, Apple and Steve Jobs have succeeded in getting most of the major book publishers to change the basic structure of their way of doing business so dramatically that it might be compared, to use an old metaphor, with getting them to turn around a super tanker. But if the customers do not line up to purchase what is on that super tanker, or if growing numbers of authors abandon the publishers’ ship in favor of their own dramatic changes in the way they, the authors, do business, the super tanker may prove to be an empty vessel and the navigational 180 a Pyrrhic triumph indeed.

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

Tax Tips For Writers: Bad Debts And Income Averaging

Question: Last year, a magazine agreed to pay $2,000 for an article, plus reimburse my expenses. Usually, I ask and receive more for this kind of article, but I wanted the exposure this publication could provide. This year, I made sure to deliver the article well in advance of its due date, along with my bill for $2,700, comprised of the $2,000 fee and $700 for travel, telephone and other expenses incurred in the course of research. The assignment turned out to be a fiasco. I will collect zilch, because the magazine went kaput; last I heard of its publishers, they had gone into the witness protection program.

 

When tax time rolls around, I know where the various out-of-pocket expenses aggregating $700 go on which lines of Form 1040’s Schedule C (Profit or Loss From Business). It seems only fair that I should be entitled to a further reduction in my income taxes with a bad-debt deduction on Schedule C for that unpaid $2,000 fee. As I fall into a 30 percent federal and state bracket, the additional write-off works out to a savings of $600 — not monumental moola, but likely enough to cover several sumptuous spreads of my favorite paella at a Zagat-recommended restaurant. Some extra consolation is that a decrease in Schedule C’s net profit will lower what I owe for self-employment taxes. But where do I enter the $2,000 deduction in the expenses part of Schedule C? Or am I supposed to amend the previous year’s return in order to claim it?


Answer:
Downsize your dining desires and be content to gorge with the other gringos at La Casa Internacional de Pancakes. You cannot take any deduction for the $2,000. The snag: You are what is known as a “cash-basis taxpayer.” That is the Internal Revenue Service’s designation of individuals (including most of us) who generally do not have to report payments for articles, books and other income items until the year that they actually receive them and do not get to deduct their expenses until the year that they pay them. As the tax code does not require you to count the $2,000 as reportable income, it does not allow you to deduct an equivalent amount. Only if you were an “accrual basis taxpayer,” and had previously counted the $2,000 as reportable income at the time it became due to you, could you deduct it now, as it has not actually arrived and is a lost cause.
 
Question: For the past few years, my writing income has been meager. But this year’s income will soar because of a six-figure book advance. According to a fellow writer, income averaging will lower my tax tab by many thousands of dollars. When I file next spring, do I need to complete some form for averaging that has to accompany the 1040 form? 

Answer
: Your friend’s advice might have been helpful when the Oval Office was occupied by Ronald Reagan. But the rules now on the books provide no break for someone whose income jumps. A top-to-bottom overhaul of the Internal Revenue Code, known officially as the Tax Reform Act of 1986, included a provision that abolished averaging for nearly everybody, though there continues to be a limited exception for farmers. My advice is to focus instead on easy and perfectly legal ways for writers to trim taxes. A standard tactic is to stash some of that advance money into one of those retirement plans for self-employed persons.
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Julian Block, an attorney in Larchmont, N.Y., has been cited as “a leading tax professional” (New York Times), "an accomplished writer on taxes" (Wall Street Journal) and "an authority on tax planning" (Financial Planning Magazine). He speaks at writers’ conferences. His books include "Tax Tips For Writers: Savvy Ways To Trim Taxes To The Legal Minimum," praised by law professor James Edward Maule of Villanova University as "An easy-to-read and well-organized explanation of the tax rules. Writers, photographers and artists would be well advised to buy this book.” Information about his books is at www.julianblocktaxexpert.com.  Copyright 2010 Julian Block. All rights reserved.

Consumption Paradigms: PART I

I just read that term in a press release advertising some schmo as president of some company I’ve never heard of. The release was so poorly written I don’t even know what the company does. Not important right now.

There are so many variables in this move to digital books that it’s hard to digest. TUMS, please. Compounded with people talking just for the sake of talking about it, it’s hard to identify issues that should really be tackled now rather than later, when everyone is all hepped up about an idea and it turns out it has no legs because no one thought of it.

[Editor’s note: strong language after the jump]

Two things that strike me as important are pricing model(s) and bridging the technology/content gap. This post is about book pricing. When I get my head together on the other thing, I’ll post that.

A Book Pricing Model: Just a Proposal

I know this is coming from leftfield, but it’s at least a proposal that’s different than discounting or finding the magic price. Big Pharma prices its new drugs according to a complex formula of R&D budget, marketing budget, patent portfolio, sales volume and profit margin. Fair enough. Direct your attention to the patent part. A patent can be enforced for a finite period of time. When drugs come off-patent, generic manufacturers can file a Amended New Drug Application (ANDA) to make and market the drug in its generic form. Generic companies are doing quite well, thank you, and have the benefit of a sympathetic congress and loosened regulations under which to operate. What the fuck does this have to do with book publishing?

While I don’t pretend to be any kind of an IP expert, there is a valuable lesson that content-givers (new name for writers and artists?) can learn from industry in patents and the protection they offer. We have run roughshod over copyrights, as writers. Publishers are not our friends. They are business partners. And yet, we give them our blood and guts and consent to fuck with it for near infinity. What’s up with that? As owners of our own "patents," our content, we need to look at publishers as lessors of our property for a much shorter period than is widespread business practices today. For those releasing their own books, it’s like the generic drug model without having to pay the costs of an ANDA application and ensuing litigation.

We should also be considering this model as a foundation on which to build a pricing model: When books are hot, newly released and getting a lot of marketing–whether through publishers OR by independently released books–they should be priced higher. Simple. Every industry does it, even publishing right now. The difference I propose is that as OWNERS of our works, we take the motherfuckers back after a 60-90 day period, give or take. I mean, like, listen, Mr. Publisher, you have 60 days to sell the shit out of my book, after which you give it back to me, pay me my royalties, and fuck off until next time. The SAME should apply for books we release ourselves. Price it high in hot-season, then when you’re done with your initial marketing push and your book tour (even if the book tour consists of yours and the 5 towns surrounding you that your local bus line goes to), lower the price. Make it a competitive generic price.

I’ll wait for a publishing person to argue with me about how much to price these things at, numbers wise, so until I see the accounting methodology, I’m unsure anything needs to be priced more than $10. It’s a fucking book, not a piece of gold. Can someone out there do a comparative pricing model with the inflation built in as to how the price of books has increased over the past, say 75 years? Ok, 50 years? That’d be great, thanks.

Stay tuned for the Consumption Paradigms: PART II when we’ll discuss bridging the gap between what the technies know and do, and what the content-givers want and can provide.

This is a reprint from Jenn Topper‘s Don’t Publish Me! blog. Also see her follow-up post, Consumption Paradigms: Part II.

Lulu: You Wanna Piece of Me?

DIY self-publishing service provider Lulu has set in motion a process which could see the company offering public shares on the Canadian stock market as early as next month.

Last Friday Lulu filed a preliminary prospectus with the regulatory authorities in Canada. The first moves that may see shares in Lulu sold on the stock exchange had been anticipated since early January, with the only surprise being the company’s choice of Canada.

The choice may have been influenced by the fact that Canada’s regulatory authority is not considered to be as heavily stringent and require the levels of open scrutiny demanded by its US counterpart. Company CEO Bob Young does have family connections in Canada and spent a period of time growing up there.

The prospectus filed on Friday does however reveal that Lulu had been making a loss throughout 2009 until the final quarter when it made its first profits of the year. Making a successful initial public offering (IPO) will depend greatly on Lulu attracting strong investors, and ultimately that investment may still come directly from the US, with Lulu still having the opportunity to try a move to the US stock exchange further down the financial road.

The prospectus also revealed that Bob Young will continue to remain a majority stockholder in Lulu following the IPO. Money raised from the IPO will be used to continue to expand Lulu’s marketing development and introduce new products and services to businesses, publishers and authors.

 
More in-depth detail here.

This is a cross-posting from Mick Rooney’s POD, Self-Publishing and Independent Publishing blog.

ISBN for Self-Publishers: Answers to 20 of Your Questions

One of the areas that I get the most questions about is the use of the ISBN, the unique numeric identifier that’s used around the world to identify books. New self-publishers are especially concerned with making sure their books are registered properly, that everything is done so that their book can be sold without any problems or confusion.

Because this area is specific to the book business, there’s a lot of confusion and misinformation about ISBN and how it works. I strongly recommend you use the resources provided by Bowker, the company resposible for ISBNs in the United States, on the ISBN website and at Bowker’s website.

But even faster, without any further delay, here are 20 answers to the most commonly-asked questions about ISBN.

Questions and Answers about ISBN

  1. What is an ISBN?
    ISBN stands for International Standard Book Number. It is a 13-digit number that’s used as a unique identifier for books. ISBN is used internationally.

     

  2. What do all the numbers mean?
    See my earlier article on decoding the ISBN.

     

  3. Why do we need ISBNs?
    We need them to identify each book that is published, and each edition of the same book. ISBN also identifies the publisher of the book. It is the standard ID number used to identify books by booksellers, libraries, book wholesalers and distributors.

     

  4. Should I get an ISBN?
    If you plan to sell your book in bookstores, to libraries, or through online retailers like Amazon.com, you will need an ISBN.

     

  5. Does a book have to be published to have an ISBN?
    ISBNs are issued to publishers, who then assign them to individual books. This can be done at any time, even before the book is written.

     

  6. Is the ISBN the bar code I see on the back of books?
    The bar code is a representation of the ISBN in a form that can be identified by scanners. The bar code might also have other information embedded in it, like the price of the book and the currency in which it is priced.

     

  7. Okay, do I need to have a bar code too?
    Only if you plan to sell your book in bookstores. If you only plan to sell online, or privately like at speaking engagements, you don’t need a bar code. Many publishers put them on their books anyway.

     

  8. If I get an ISBN, does that mean my book is copyrighted?
    No, ISBN is administered by a private company for the use of the international book trade. Copyright is administered by the Library of Congress and is an extension of intellectual property law.

     

  9. If I have an ISBN, does that mean my book will be in Books in Print?
    Once you have an ISBN you can go to BowkerLink to fill out the forms necessary for your book to be listed in Books in Print.

     

  10. Can self-publishers get an ISBN?
    A self-publisher is still a publisher, so yes, you just apply for an ISBN like anyone else.

     

  11. How do I get an ISBN?
    Go to myidentifiers.com, the ISBN website run by Bowker, which is the only company authorized to administer the ISBN program in the United States. Click on “ISBN Identifiers” and you’ll be taken to a page where you can buy 1, 10, 100 or 1000 ISBNs.

     

  12. How many ISBNs should I buy?
    The least economical choice is to buy 1 ISBN. If you ever publish another edition of your book, or another book entirely, you will need more than one ISBN. I suggest you buy the 10 pack.

     

  13. What do ISBNs cost?
    A single ISBN today costs $125, while 10 ISBNs cost $250, 100 cost $575 and 1000 cost $1000. Note that the price per ISBN drops from $125 to $25 to $5.75 to $1.

     

  14. Isn’t it just a number? Why does a number cost $125?
    Many people are pondering this question, so far without an answer. Obviously, it’s not because of the cost of the product. Could there be another reason?

     

  15. Well, can I re-use my ISBN?
    No, sorry, once assigned to a book, an ISBN can never be reused.

     

  16. Where do I put the ISBN?
    You’ll print it on the copyright page, and it’s included in the Cataloging-in-Publication data block, if you use one. Otherwise, just print it on the copyright page and, of course, on the back cover as part of the bar code.

     

  17. I’m doing a print book and an ebook. Do I need two ISBNs, or can I use the same one?
    This is a matter of some discussion at the moment, since there are more and more electronic formats. The policy of assigining a separate ISBN to each and every edition is under review. Check back for more info.

     

  18. How about a hardcover and a softcover of the same book?
    You need a separate ISBN for each edition, to identify them for everyone who might want to find them in directories, catalogs and databases.

     

  19. If I revise my book, do I need to give it a new ISBN?
    If you only correct typographical errors, and don’t make any substantial changes to the text, you don’t need a new ISBN because it’s considered a reprint. A new edition would contain substantially new material, a major revision, or the addition of completely new elements. Anything that makes it a new book is likely to create a new edition and, therefore, need a new ISBN.

     

  20. How about if I just change the cover?
    You can continue to use the same ISBN, since the text has not changed.

Well, there you have it. In 20 questions and about 5 minutes, you’ve overcome the confusion about ISBN. Have a question you didn’t see answered here? Ask in the comments and we’ll run down the answer.

Takeaway: Getting the ISBN for your new publishing company is a necessary step to becoming a publisher and getting your book into print correctly. It’s not difficult once you understand how to do it.

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

Writing More Than One Book

You labor over your first book, maybe for years. You seek help from other writers and editors, finely tuning your book to hopeful perfection. The important day comes—it’s accepted for publication and it starts selling well. The buzz is out—you are a great new author with something important to say. Your publisher says, “Quick, we need a follow-on!”

You sit down to write your second book, but now you are under a time crunch and intense scrutiny. Will it surpass the first? Hey, no pressure here—riiight! This is why too many first time authors do somewhat poorly the second time around. They’ve rushed to get something out and their fan base or platform rushes to judgment.

It Can Happen to Self-Publishers As Well

A similar thing can happen to self-publishers. You work hard to produce your first book and then begin marketing it. You know you need to have a good follow-on to take advantage of the swell of the first one’s popularity. Unfortunately, you have also discovered the dirty little secret that producing the first book was not the hard part; it’s the marketing of it that takes so much of your time and resources. Having been down this road before on both sides of the coin with my nonfiction work back in the 80s/90s, I knew what to expect with my reentry into publishing with my fiction. This is why I carefully took several years to develop a series of four (soon to be five) mysteries before I launched the first. Once you hop on this merry-go-round of publishing/marketing, there won’t be as much time to write, unless you hire someone else to do all the marketing for you, which is expensive, since it is a full time endeavor.

Different Ball Game

To add to the challenge of creating additional works is the complexity of today’s publishing and bookselling business. There are so many more ways to produce a book in several different formats: POD, traditional offset print, ebooks in 6-9 different formats, audio books in CD and downloadable versions, DVDs, and all the attendant marketing that goes with them. It really requires much more attention.

So, What to Do?

Look for expert distributors and producers for some of your versions. Let them provide marketing paths they’ve established, which you don’t have the wherewithal to do—it’s worth their fees. My first mystery, Quad Delta, is published as an ebook with Smashwords at https://www.smashwords.com/books/view/8850  Think outside the box. I’ve made application to Lightning Source to print and distribute POD versions of my books. I’m still waiting for that application process to complete, so I’m ordering my first 50 copies from a good local source, insuring I have enough on hand for my official release. Once LS comes through, I’ll order 100 copies from them for the follow through. If the book sales are promising, I may go to traditional offset printing down the road. While all this is going on, my second mystery, Firebug, is already published at Smashwords as an ebook at https://www.smashwords.com/books/view/9114 , and I’m waiting a couple of months before I release it in print form. Now you can get a feeling for why I waited until I had four in the can before I launched into self-publishing again. It also shapes my marketing from selling just one title to selling a series of titles, which encourages whatever fan base I develop that other Bob Spear fixes are on the way. That helps the viral buzz.

Finally

Writers need to be aware of these dynamics and plan on coping with the complexities instead of blithely ignoring the realities of writing multiple books and then walking into a meat grinder of time pressures and public expectations. The bottom line is to always seek to be pro-active. Nobody likes SURPRISES!

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

Lessons Learned From TOC: Don't Be A Jerk

Don’t believe what you hear about New Yorkers being rude. During the four days I was there for the O’Reilly Tools of Change conference [in 2009], only two people were rude to me. One was a woman who sat next to me during a showing of the musical Billy Elliot. The other was an author in attendance at the conference. I’ve blurred the details in relating my experience with the author here, but there’s still an important lesson to be learned from it.

I’d long been a fan of this author and a regular follower of her blog and online columns for various publications, and had long pondered a specific passage in one of her books. Seeing her at the conference, I figured this was my chance to ask her for further clarification directly. Her response was curt. She tersely said I’d completely misunderstood the passage and rather than indulge me with further explanation, directed me back to her site. Not surprisingly, my impression of this author has changed entirely, for the worse, and my new, negative impression will undoubtedly color my opinion of all her work in the future.

In fairness to this multi-published, big-name author, it must be said that she probably receives queries like mine all the time and is sick and tired of having to answer the same questions from the boneheaded public over and over again. However, in fairness to the boneheaded public, it must be said that we pay her bills and it is our desire to read and understand her work that allows this author to maintain her lifestyle and vaunted status. While I sell respectable numbers of books and get tens of thousands of hits on my various websites each month, I’m a relatively smalltime operator in the big scheme of publishing. Even so, I cared enough about this author’s work to buy it and try to absorb it, and I think that’s reason enough to deserve a modicum of respect from the author.

The author essentially made me regret having posed my question to her, and by extension, having spent the money and time I’d invested in her work to date. I was left to slink away in quiet embarrassment as other, better-known conference attendees swooped in and were granted a much warmer welcome by the author. What could I say? "Gee, sorry to show interest in your work, I’ll try not to do it again."

As an author, you should count yourself lucky to have each and every fan, and treat every one of them with the same level of respect and interest you would show to the most famous and influential person you can imagine. In the general sense it’s just plain good manners, but in the marketing sense it’s critical.

You may think a bumpkin housewife who accosts you to ask the most lamebrained question about your work you can imagine isn’t worth your time because she’s just a lamebrained, bumpkin housewife, but you’re wrong. That housewife buys books, belongs to book clubs, church groups and the PTA, and comes from a large circle of family and friends in her community. Whatever she tells her circle about you is something that circle will repeat to their circles, among whom are sure to be some bloggers and influential voices—six degrees of separation and all that.

Each contact with a reader is an opportunity to make a good impression, reinforce an already good impression, or spread bad press on your own behalf. No matter how tired, frustrated or annoyed you may be feeling on the inside, paste on a smile and show your audience some respect.

This is a reprint from April L. Hamilton‘s Indie Author Blog.

7 Reasons Not to Self-Publish—Is This You?

Yesterday the publisher services company Lulu.com announced that John Edgar Wideman, two-time winner of the Faulkner Award for fiction, would be publishing his new collection of short stories, Briefs, Stories for the Palm of the Mind, in conjunction with Lulu’s new VIP program. Wideman has been published for years by Houghton Mifflin, according to the report in Publisher’s Weekly.

This was notable, although Wideman may just be the first of many as self-publishing gradually loses its stigma and is seen as simply another path to publication, and for many people, a superior one to the traditional publishing route.

Here’s part of what he said in a press release issued by Lulu:

Wideman decided against a traditional publishing contract — and royalty advance — for Briefs because he wanted more control over the publishing process and to develop a more direct connection with his readers. He also wanted to experiment at a time when the publishing industry is undergoing more revolution than evolution. . . . I like the idea of being in charge. I have more control over what happens to my book. And I have more control over whom I reach.

I’ve often heard other self-publishers voice the exact same sentiment, although few had a royalty to turn down. But there are also echoes in Wideman’s statement of the move to what you might call author self-empowerment. When publishers rely on authors for marketing plans, platform building, and finding their own community of readers, they inadvertently also pass a great deal of power over to the author at the same time.

Self-publishers have traditionally grasped for this power directly. Before the internet, self-publishers lived by direct mail, and the direct selling that happens on the internet today owes a great deal to what direct marketers have learned over the last 50 years in other media.

But the growth of self-publishing as an accepted path to publication, aided by authors like John Edgar Wideman, is not what this article is about. No, this article is about you.

You Know Who You Are

Wideman found compelling reasons to self-publish his book, based on an informed and pretty astute reckoning of where publishing is at the moment.

But, like anyone connected to book publishing, I often hear the exact opposite from people who buttonhole me and start telling me about the book they have “in their desk drawer” or “packed up in the attic” or “in a big box under my bed.” These stories are amazingly common.

A woman dreamed of writing a book, spent months working on it, but never got any further. Or a man, getting up early for years, completes a manuscript but just prints a few copies to give to friends. Why?

Because they have found many reasons to not self-publish. Look, most authors are never going to get a contract offer from a big—or small—publishing house. The demand for publishing far outstrips the supply of big-publishing company openings for books. That’s what’s caused the meteoric rise of self-publishing, once digital printing and print on demand distribution removed the monetary risk of getting into print.

So what obstacles are left? Why haven’t these writers become authors, fulfilled their dream of publication, and found their readership?

Here are the top reasons I’ve identified why you might decide not to self-publish:

  1. You don’t want people to look to you as an authority—Authors acquire a definite authority within the area they write about. This is particularly true of non fiction authors. Even though you know quite enough to write a book on the subject, does something about being looked to as an authority make you nervous?
     
  2. You’re afraid of speaking in public—It’s common for authors to be asked to speak in public, and to pursue public speaking as a way to market their book. Common knowledge tells us that the number one fear in Americans is the fear of public speaking. Perhaps this is really the fear of appearing a fool in public. Is that what’s stopping you?
     
  3. You don’t need another income stream—Novelists would like to make money from their books, but would write them anyway. Nonfiction authors often write in order to make money, to capitalize on a business opportunity or leverage their experience to improve their clientele or their hourly rate. The independently-wealthy and people satisfied with their current income might see self-publishing as a waste of time.
     
  4. You have nothing unique to say in your field—Maybe you’ve spent a career as a primary school teacher, following curriculum. Perhaps you’ve been a cubicle slave for years, and the creative juices have been beaten out of you. I’d say it’s more likely you’ve simply forgotten how unique your own perspective on life, your business, or your hobby really is.
     
  5. You’d rather not contribute to publications in your niche—Once you start publishing you naturally start marketing, and writers use writing as a way to get the word out. But maybe you are embarrassed by the chance you might seem to some a “know it all” if you start getting articles published in relevant trade magazines and websites. That could slow you down.
     
  6. You prefer to wait a few years and see if you get offered a contract—There’s a certain kind of writer who is happy to write, and never get published if they can’t get that contract from Knopf, or Random House, or whoever. They accept the wisdom of the agents and editors they submit to (literally) over the years, and feel it’s better that their work stay unknown, since it’s unworthy of their gods. That’s a tough one.
     
  7. You hate the idea of autographing books for buyers—Having fans, people who will show up at bookstores to hear you talk, stand in line to get your autograph, may be disconcerting. People in our culture often feel unworthy of attention, as if others are deserving, but I am not. Maybe this shame was drilled into us when young, it certainly is long-lasting.

The World of Publishing is Changing: It’s Your Turn Now

I fully expect to see more authors like John Edgar Wideman turning to self-publishing out of pure self-interest. But many other writers can do the same thing. The tools of Lulu and other publishing services companies are there for us to use. Many involve little or no expense.

Writers who publish a book themselves, if they are realistic in their expectations are usually energized by the experience. Since print on demand means you’ll never get left with a garage full of unsold books, the risks have become almost completely psychological.

My message is this: Now is the time. It has never been easeir, faster, or less expensive to get into print. With the tools of the internet and social media, the marketing landscape has never been so level. Go drag that box out from under the bed. Climb up into the attic and pull that manuscript down. Fulfill what you started, or start what you’ve dremed of. You won’t regret it.

Takeaway: The obstacles to publishing are, increasingly, within us. Our opportunities to self-publish have never been better, and the stigma of self-publishing may fade rapidly. The time to act is now.

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

Calling For Tax Advice The Inexpensive Way

With this article, Publetariat premieres its new Business End department, and resident tax expert Julian Block. Indie authorship is a business, after all, and it’s important for indie authors and small imprints to keep on top of tax matters.

Internal Revenue Code changes have averaged one per day over the past eight years — with 500 revisions in 2008 alone and 235 in 2009. Who’s counting? Nina Olson, the National Taxpayer Advocate, announced the statistics in her annual report to Congress. An independent organization within the Internal Revenue Service, the Taxpayer Advocate Service helps taxpayers resolve complaints with the agency when problems cannot be resolved through normal channels.

 
Will Advocate Olson’s reports convince our lawmakers to draw back from their drawing board? Not during these troubled times. Expect them to enact even more alterations to an already confusing code in the immediate future.
 
How do individuals who need to focus on tax planning all year long keep on top of all those major and minor modifications? Most decide to become clients of tax professionals — advice-givers adept at calming the concerns of the affluent and nimbly sidestepping pitfalls while capitalizing on opportunities to diminish, delay or deep-six paying amounts that otherwise would swell IRS coffers. And that kind of advice does not come cheap.
 
In locales like my neck of the woods near New York City, such clients should expect to pay hourly fees of several hundred dollars and up for guidance. Help is available from lawyers, CPAs, financial planners, and enrolled agents — i.e., persons licensed to practice before the IRS who are neither attorneys nor CPAs, but who are former IRS employees or have passed rigorous tax examinations administered by the IRS.
 
Fortunately, pricey professionals are not the only source of help for Americans worried about their financial futures and retirement prospects. Cheaper alternatives are available. One option is to sign up at places like high schools and community colleges for inexpensive adult education courses on various aspects of personal finance — for instance, tactics that trim taxes or methods for investment selection.
 
But people who need financial advice should be wary of free lunch seminars that are actually showcases for hucksters. Seminar sponsors usually promote their programs as educational events, with free meals thrown in. But the seminars generally feature hard-sell pitches for substandard investments designed to enrich the sponsors — many may be Uncle Bernie wannabes — and impoverish investors, especially unwitting seniors.
 
It is also possible to obtain advice at no cost from knowledgeable, disinterested professionals. This resource is available to an ever-increasing number of individuals who belong to affinity groups or work for companies that offer such advice. Individuals eligible for assistance can call centers staffed primarily by financial planners who offer advice only — untainted by compensation linked to commissions on product sales.
 
But what is available for people in need of instant advice who are without access to such call-in centers? Thanks to technology, there are person-to-person Internet advice sites that let them talk to experts on topics like taxes and investing. It is important to note, however, that these sites do not vouch for the accuracy of their experts’ advice.
 
A major purveyor of telephone counseling is Keen.com, a company that describes itself as “Your Personal Advisor,” offering live, immediate advice (and hand-holding) for everyday life.  Keen provides computer tech help, career coaching, astrologic readings, relationship advice, credit counseling, and just about everything between. Unless you have need for such services, ignore them, and head straight for Keen’s tax-planning experts. (In the interests of full disclosure, I was among the first dispensers of tax advice recruited by Keen when it debuted in 2000.)
 
Keen’s specialists cover a broad range of financial topics  —  anything from tax-efficient maneuvers that callers can implement themselves, to new theories to test out on real-world advisers, to portfolio diversification strategies.
 
Keen allows callers to check out advisors’ backgrounds and client ratings. Another confidence booster is that Keen makes the call to both parties — ensuring that its online specialists remain clueless about callers’ names, phone numbers, and other personal information, unless callers choose to divulge such details.
 
What does a service like this cost, and how does one pay? As with most Internet sites, Keen accepts credit cards and bills per minute, but frequently discounts fees for first-timers. There is no minimum fee commitment, and callers decide when to conclude the conversations, so they are in control at all times. The result is helpful advice at far less than the cost of in-person sessions.
 
That noted, Keen is not ideal in all situations. At least some of its mavens will lack your mom’s smarts and accessibility, and none can compete with her, whose 24/7/365 counsel comes at no cost at all! Still, Keen is particularly well suited for several common situations. Its advisors can provide inexpensive reassurance when taxpayers want to verify that information received from their advisors or the IRS is correct or when their returns are being audited.
 
Keen is particularly useful during tax filing season, when other advice lines may be overloaded. According to the Government Accountability Office (GAO), taxpayers trying to dial into the IRS telephone assistance system for comparable help may be stymied by busy signals or put on hold, only to endure lengthy waits. But Keen’s advisors offer prompt answers.
 
Throw in another plus for last-minute filers choosing Keen over the IRS: They improve their chances for obtaining advice on circumventing stiff, nondeductible penalties for late filing (as much as 25 percent of the balance due on a return submitted after the due date) and late payment. The IRS charges interest on penalties and back taxes. Whereas taxpayers can count on Keen’s availability on April 15, that is the day when “abandoned calls” — the GAO’s term for calls to IRS telephones that go unanswered — surge. And, in case you forgot, that is also the day the Titanic sank.
 
For Keen’s directory of tax advisors, go to  http://www.keen.com/categorylist/Taxes/41/. You can select one by clicking on a “Call Now” icon, or you can dial 1-800-ASK-KEEN (275-5336) and follow the voice prompts. That may be all it takes to speak with someone who can staunch the potential hemorrhaging to the IRS.
 
Julian Block, an attorney in Larchmont, NY, has been cited as a "leading tax professional" (New York Times), "an accomplished writer on taxes" (Wall Street Journal) and “an authority on tax planning” (Financial Planning Magazine). His books include “Tax Tips For Small Businesses: Savvy Ways For Writer, Photographers, Artists and Other Freelancers To Trim Taxes To The Legal Minimum,” praised by law professor James E. Maule of Villanova University as "An easy-to-read and well-organized explanation of the tax rules. Business owners would be well advised to buy this book." To order his books, visit www.julianblocktaxexpert.com. Copyright 2010 Julian Block. All rights reserved.