Hello

 I’m never sure what I should be doing or not doing. What I don’t want to do is post a link, so I’m not. I’m Author Madison Johns. I have published a short story collections of the horror genre on Amazon entitled Coffin Tales Season of Death. It contains two short stories that I’d say would appeal more to the YA audience, but hey they are creepy.

In May 2012 I published my first novel Armed and Outrageous, which is a cozy mystery featuring a senior citizen sleuth Agnes Barton. Well I must admit writing about characters this age is challenging. It’s laugh out loud funny and with enough realism to make most people identify with one or more of the situations they get themselves into.

I’m happy to be here and look forward to interacting here. I’m also active on Facebook, Twitter, LinkedIn, and Goodreads. 

Hello

 I wanted to take this opportunity to introduce myself. 

Bio

 

As a child, Madison Johns preferred to distance herself from other children her age, and had been described as a dreamer. Even as a small child, she remembers staying awake many a night fighting dragons, whisked away to foreign lands, or meeting the man of her dreams.

At the age of 44, Madison pounded out a book a year for the next three years and published her first novel May 1, 2012.

 

Books

Horror

Coffin Tales Season of Death published November 2011 on Amazon. It’s a collection of two short stories Jack-o’-lantern and Hell Crow. 

Mystery

Armed and Outrageous published May 2012 and currently available on Amazon in both ebook and print editions, also available on Barnes and Noble.

 

Pain and Stress Inform the Work, But Not Always Right Away, and Only If You Survive

It may not seem like it at first, but this post is about coping with the tremendous, unprecedented pressure to produce and sell that all but the most established authors face these days. Specifically, it’s about coping with those pressures on top of other, even larger pressures, particularly when you’re an indie author in the early stages of your publishing career. So please bear with me: I’ll circle back around to this, I promise.

My favorite mantra for coping with pain, stress and the general asshattery and douchebaggery of others when it occurs is, "It informs the work. It informs the work. It informs the work." Sometimes I have to say it through gritted teeth, but it’s true: the most painful and troubling experiences of a writer’s life combine to fill a well of personal truth from which the writer can draw to lend authenticity and heft to his fiction. But like a fine wine or artisnal cheese, those experiences usually need to age before they’re ready for public consumption.

It’s only through the passage of time, and accumulation of new experiences and outcomes, that the writer gains distance, perspective, and a degree of objectivity that enables her to take something deeply personal and channel it into stories and characters that speak to others in a relatable way. And I’m not just talking about fictionalized memoirs here, I’m talking about dealing with the broad themes of loss, pain, denial, longing, failure and all the other negatives that challenge us as human beings, in fiction.

Writers are a sensitive lot by nature, and many of us are living through dire times. Some of you who are reading this post have recently suffered a job loss; some have been out of work for a year or longer. Some are losing—or have already lost—their homes to foreclosure. Some are coping with the loss of a loved one, divorce, a health crisis…or maybe even two or more of these major life traumas simultaneously. Some are just barely keeping the bill collectors at bay while living on a steady diet of ramen noodles and peanut butter. One day, the survivors will look back on these dark times and see them for the growth experiences they were. But not today, and not if they don’t survive.

Sometimes people ask me why I’m not producing one or two novels a year, as so many indie authors are advised to do if they wish to build up the kind of back catalog that’s necessary to truly make a living as an indie author. Some ask why I’m no longer a familiar face at writer conferences and events. Some wonder why they’re seeing more images and updates of my craft projects on Facebook than of my writing projects, and why I just generally don’t seem to be "working it" as an indie author, and haven’t been for some time. Well, I’ll tell you.

I came out of the chute like gangbusters back in 2007, when "self-publish" was still a dirty word. I got my books and myself out there, I launched and nurtured Publetariat.com, I became active with social media, I networked, I got involved with online writer and reader communities, I spoke at writer conferences, I taught workshops, and more. I’d built up quite a head of steam and forward momentum when…

…the bottom fell out of my life.

In early 2010 I learned I had a breast tumor [I’m fine now, thanks for your concern =’) ]. Two days later my husband of 18+ years announced he was leaving me. This meant I’d also soon be unemployed since my job at the time was as Office Manager for a business my then-husband and I ran together. I’d left a career in Software Engineering some six years previous to help establish and run that business, so hopping right back into my former professional field wouldn’t be possible. Divorce also meant I might soon be losing the only home I’d ever owned, and had recently remodeled, and loved, since I most likely couldn’t afford the mortgage payment by myself.
 
It’s been over two years since the bombs dropped on me, and I’ve come a long way toward full recovery. But I’m not there yet. While the initial shock and emotional devastation are behind me, the fallout from these problems is still poking me with a stick on a daily basis, preventing me from establishing comfortable, secure new routines. In many ways, I’m still in survival mode. Surely all of these experiences will imbue my work with more depth and meaning than it’s ever had before. But not today. And not if I don’t survive.

Survival is job one, for all of us. If you don’t survive, you won’t be there to tell your stories when the crisis is over. If the pressures of your daily life are already pushing you to your limits as a human being, before you add the pressures of authorship, you need to step back. Give yourself permission to delay, though not abandon, your dreams. If you don’t, drive will turn into despair. Hope will turn into bitterness. The urge to create will turn into an urge to destroy.

For someone in survival mode, every bit of effort, time and money spent is a high-stakes investment, because there’s so little of those commodities available to such a person. Where entering a contest, submitting a manuscript, or publishing a new book would’ve been an event of nervous, but hopeful anticipation in the past, when you’re in survival mode these things become acts of desperate need. Rejections that would’ve been difficult, but manageable, before are crushing to someone in survival mode. Not only is it impossible to create your best work, you lack the emotional wherewithal to understand and accept it when others don’t respond well to your sub-par efforts. It becomes a downward spiral of fear, rejection and increasing desperation, all of which serves to further delay your eventual recovery and ability to come at authorship from a place of renewed strength and perspective.

Building a career as an author is a marathon, not a sprint. If you’re exhausted as you stand on the blocks, before the starting gun has even sounded, there’s no way you can hope to win that race. Do what you need to do to survive, so that someday, you can once again thrive.


This is a cross-posting from Publetariat founder and Editor in Chief April L. Hamilton‘s Indie Author Blog.

How To Make Yourself Completely Insane in Three Easy Steps

Okay so there are no real steps here. That’s just the title. I have a special talent for making myself bug-shagging crazy. I am not good at moderation. (Well, except with alcohol. Seriously 3-4 ounces of wine and I’m done. Thank GOD I have an ability to moderate drinking otherwise I’d be in a rehab center somewhere.)

Anyway… too much of almost anything makes me really depressed and anxious and neurotic. Lately I’ve been driving myself crazy trying to be more productive, largely because I feel this huge pressure to get enough work out there to maintain a living and to have a book “break out” because I have this completely neurotic and overwhelming fear of just “disappearing” and everything drifting so far to the bottom of sales rankings that nobody even finds it anymore. (even though this probably is NOT how it works.)

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

I’m not saying it has to make me famous or get me on some kind of “list”, I’d be happy at this point for a book to get into the top 1,000 in the Kindle store and stay there for a few weeks, just enough to bump me up all across the boards enough that I can relax and fucking breathe.

And I know you can’t “plan” for a book to break out. A book either catches fire or it doesn’t. You can’t plan it, you can’t know what will make people sit up and take notice in large enough numbers for it to matter. But the more books you write and the stronger/bigger your backlist, the higher the odds raise just from a pure numbers perspective of something breaking out. The other factor is the learning curve. The more you write, the more you learn either overtly or sort of humming in the background, what works with books and your style and what doesn’t. What you excel at and what you’re not so great at. So each book (hopefully), gets stronger, and while it gets stronger, you’re putting out more books which keep raising your odds. (But when you’re in the trenches, believe me, it does not feel like that. It feels like a treadmill that will never reap the benefits you want.)

I rarely do whine fest posts like this, so bear with me. I put SO much pressure on myself. I’m not sure Olympic hopefuls put this much pressure on themselves. It’s a serious character flaw and it causes me more angst than I want to deal with, but I can’t help pushing. If things aren’t going great sales-wise, I push harder (i.e. work more, write more, publish more). If things are going great… I push harder… to capitalize on it more… because I know from experience that it won’t always be like that.

I’m not sure what magic or luck came together to get Mated so close to the top 100 in the Kindle store when it first came out (105), but at the time it seemed EASY. People were making a big deal about all three of my novellas being in the top three spots repeatedly of the Gothic romance section and high in the top 10 of other related sections and in my head it just wasn’t a big deal. Because it came too easy. It came so easy I didn’t know how hard it was and couldn’t appreciate what I’d accomplished until something happened to put me and my work in a more realistic place.

NOW I know how hard that is. NOW I know why people were going: “Holy crap, look where Zoe’s books all are on that list?” Gee, it would have been nice to be able to have truly appreciated it, THEN. Probably some people thought I was being modest, and certainly I wouldn’t have run around tooting my horn like I was the shit, because that is supremely obnoxious and as hard as it is to make a go of it in such a competitive industry in a crappy economy where people have a billion distractions and too many things to do to crack a book open in the first place… you just don’t gloat when you “get there” wherever “there” is. Because it’s fucking hard, and you can feel the pain of every other writer around you desperately wanting to be even where you are that you just don’t shit on people like that when you’re successful.

Jumping tracks…

I don’t understand how to back the fuck off and take a break, and it’s making me certifiably crazy.

This past week I decided I was going to write a book in a week. The book had been percolating for awhile, so why not. I’ll tell you why not? Because it’s INSANE. I wrote 30,000 words in 3 days. I don’t recommend it. I don’t think I ever want to do another 10k day. Unless I’m just in such a white hot writing heat and so excited about the book I can’t stop or slow down. But to say: “Okay, this is my quota today” and do these crazy, draining, grueling days. No. Never again.

I have to bring some sanity back into my life. So yeah, it’s cool and awesome that I wrote 10k words 3 days in a row. I’ve never done that before, and unless it’s at gun point, I’m never doing it again. I’m going back to my normal 2,500 word days that don’t feel like they are sucking the life right out of me when I do them. I may write more if I feel like it, but it surely won’t be the quota. Know how many words I’m writing today? 2,500. Unless I just feel wildly inspired. Because otherwise it’s too much stress and pressure. And if I’m not in the right place emotionally, I’m going to write a truckload of shit anyway.

I believe strongly that the muse doesn’t show up unless you do, but at the same time, you can’t just grind out huge huge word counts (unless you’re some kind of prolific writing savant), without there being a strong psychic cost for that.

And speaking of breaking out… (Sort of jumping back onto the first track) Judging from what my betas are saying, Life Cycle has a strong potential to break out… BUT… there’s a hurdle… there are 3 books before it in the series. New people have a giant hurdle of time commitment with me and my books to jump before they get to the magical potentially break out book (and when I say break out, again, I don’t mean riches and fame. I mean a book that really catches on strongly and gets me back into the top 1k again and bringing my backlist with it.)

So Life Cycle HAS to be able to stand alone. Which is what I’ll be working on in edits. The problem with this series is that I have basically done everything I can think of to KEEP it from breaking out. (Not on purpose.) Book 1 (Blood Lust) is a series of 3 novellas which in itself is problematic because it’s confusing to people. People who hate novellas aren’t going to want to read what is basically a novella anthology as the first book to bring them into a series. People who love novellas and hate novels won’t stick around for book 2.

Book 2 (Save My Soul) is problematic in its own way because at times it feels like a totally different series. Things don’t really start coming together for the whole world until book 3. Plus some people may be turned off by some of the Catholicism (even though I am far from promoting traditional religion in my work) that forms part of the backbone of the world. And those who ARE Catholic or Christian might be turned off because again… I’m not promoting it… I’m twisting it in my world (not in a malicious way, but hardcore religious people probably wouldn’t see it like that). Others may feel the title “Save My Soul” implies the book is in first person. Which it’s not.

Book 3 (The Catalyst) is much stronger than the first two books (not that I think the first two are bad… it’s just that writers grow the more they write, generally). But, it doesn’t exactly “stand alone”. I tried, but there’s too much backstory to give it all to you in the book. And it’s too much backstory that’s necessary to the front story.

That brings us to book 4 (Life Cycle). I think it’s a really strong book. The strongest in the series. And I know fans of the series have been WAITING for Cain and Tam. If it can stand alone, I think it’s a strong enough hook to bring in a lot of new readers and hook them back into the first 3 books. But if it’s not, I feel like the series is pretty much dead in the water. I’ll finish it, of course, if for no other reason than *I* love it, but after Life Cycle, I can’t bring myself to keep hoping it will break out in a bigger way.

Which is why it’s very good that I’m going to start a new series. I’ve learned a lot about what to do and what not to do when writing a series, plus my writing has grown stronger. (And lest anybody think I’m an egomaniac here, this is the judgment and commentary of OTHER people… not me sitting around going: “Oh look, I just get more and more awesome each day.”) So the solution is simple, start a new series. I think the concept for the new series is strong, but I have some details left to fill in before I start.

But of course ALL of this stresses me out. As hard as it is, I have to stop caring how well a book does. The one drawback to self-publishing (even though I love what I do, don’t misinterpret this.)… is that it’s extremely hard (unless you have MPD), to be those two TOTALLY different people… the business person who has to care about sales and numbers and promotion. And the writer… the person who CAN’T care too much about that or the work will suffer and they’ll go insane.

You can probably put two and two together at this point and realize why so many writers have substance abuse problems. If writing and publishing fiction won’t drive you to drink… nothing will. At least I win that one consolation prize. I just have to bring the alcohol moderation into the rest of my life and I’ll be golden… at least from a mental health perspective. And maybe from a general career perspective as well, since it’s usually when you stop clinging and fighting so hard that things open up and flow. I should at least try to test that theory. The first step is going back to a reasonable word count and chilling the fuck out.
 

This is a reprint from The Weblog of Zoe Winters.

How Can We Get Artists Paid On The Internet? A Chat With David Lowery

This article, by Maria Bustillos, originally appeared on The Awl on 6/21/12. Note that while it focuses on digital music piracy, the issues in it, of perceived value, piracy, intellectual property rights and the need for artists to earn a living, are equally applicable to ebooks.

Little did I realize, when I popped over to the Urth Cafe on Beverly a few days ago to talk with the musician David Lowery about artist compensation in the music business, that within the week he would be at the center of one of those "Media Firestorms." Founder of the bands Camper Van Beethoven and Cracker, Lowery is a big, charming, voluble, bearded ginger who natters as fast as I do; he also has a mathematics and programming background and knows a lot about amateur radio, and is a big dork. We had a marvelous talk about the above-named topics over coffee. I’d become interested in his recent work and activism after reading a post on his blog, Trichordist, "Meet the New Boss, Worse Than The Old Boss," about the failed promise of "disintermediation" and Internet distribution in the music business: "I was like all of you. I believed in the promise of the Internet to liberate, empower and even enrich artists. I still do but I’m less sure of it than I once was. I come here because I want to start a dialogue. I feel that what we artists were promised has not really panned out."

Just days after our talk, though, came a blog post by NPR intern Emily White, in which she admitted that, though she has a music library of over 11,000 songs, she has only ever bought like 15 CDs, and Lowery’s incandescent response. So much for my sobersides examination of intellectual property issues! The whole internet is still on fire with this story. When I wrote Lowery to exclaim over the fallout, he responded, "We usually get a few thousand reads a day on our blog. And I mean a few, like 3k is a good day. Sometimes we will get these crazy viral things for a few days, the way ‘New Boss’ did. But this Letter to Emily is totally off the charts. Like half a million reads in 24 hours."

Dear Media, what a dog’s breakfast you have made of this Firestorm. The dialogue between White and Lowery is not a fight. These alleged adversaries are in agreement with respect to the only significant point at issue—that musicians should be able to make a living, and they can’t in the current circumstances. Let’s extend the conversation from there.

KIDS SAY THE DARNEDEST THINGS

White’s original post opened with a response to an NPR colleague, Bob Boilen, who’d just consigned his music collection to the cloud; 25,000 songs, 200GB of reclaimed space on his hard drive. Big deal, said White; because she didn’t live through the transition between physical and digital music, storing music in the cloud seemed to her like a small step, rather than a large one. Fair enough. Then the surprises began. She wrote:

As I’ve grown up, I’ve come to realize the gravity of what file-sharing means to the musicians I love. I can’t support them with concert tickets and T-shirts alone. But I honestly don’t think my peers and I will ever pay for albums. I do think we will pay for convenience.

What I want is one massive Spotify-like catalog of music that will sync to my phone and various home entertainment devices. With this new universal database, everyone would have convenient access to everything that has ever been recorded, and performance royalties would be distributed based on play counts (hopefully with more money going back to the artist than the present model). All I require is the ability to listen to what I want, when I want and how I want it. Is that too much to ask?

Lowery’s response was both exasperated and gentle, teacherly (in fact he is a teacher, in the Music Business program at UGA). He is over twice White’s age and had no compunction about assuming all the authority of maturity and experience. He pointed out that the same kids who pay uncomplainingly through the nose for iPods and bandwidth on which to play music suddenly get all dodgy about paying for the music itself.

The existential questions that your generation gets to answer are these:

Why do we value the network and hardware that delivers music but not the music itself?

Why are we willing to pay for computers, iPods, smartphones, data plans, and high speed internet access but not the music itself?

Why do we gladly give our money to some of the largest richest corporations in the world but not the companies and individuals who create and sell music?

This is a bit of hyperbole to emphasize the point. But it’s as if:

Networks: Giant mega corporations. Cool! have some money!
Hardware: Giant mega corporations. Cool! have some money!
Artists: 99.9 % lower middle class. Screw you, you greedy bastards!

Congratulations, your generation is the first generation in history to rebel by unsticking it to the man and instead sticking it to the weirdo freak musicians!

I am genuinely stunned by this. Since you appear to love first generation Indie Rock, and as a founding member of a first generation Indie Rock band I am now legally obligated to issue this order: kids, lawn, vacate.

You are doing it wrong.

It is a bit surprising to hear a 20 year old say so blithely what "my peers and I" will or will not pay for, as if they weren’t already obediently paying without objection for what they’ve been told to pay for, which is iPhones. In fact, White’s generation in general has raised more or less zero opposition to their corpocratic bondage. But it’s also quite plain that Emily White has finally figured out (as she’s "grown up," she says) that she wants musicians to make more money. David Lowery wants the same thing!

 

Read the rest of the article on The Awl.

About that Algorithm

This post, by Jennifer Becton, originally appeared on the Indie Jane site on 6/15/12.

I’m going to state up front that I haven’t drawn any solid conclusions by the end of this post, but the information contained below about more changes to Amazon’s algorithm is important for indies to know.

Price matters.

One of the advantages indie authors have over our traditionally published counterparts is that we can choose to sell our ebooks very cheaply. Setting a price of $.99 has proven not only a great deal for readers, but writers still earn 35 percent of the list price, which is much more than what authors of traditionally published ebooks receive.

The $.99 price point has also been a wonderful tool for breaking into a large market and competing successfully against established names. In fact, the $.99 price is part of the strategy I used to propel Absolute Liability to the Top 100 last summer. It is less likely to work now though, and this frustrates me a bit because it removes a tool from my toolbox.

What’s changed?

Amazon’s algorithm. [Insert scary music]

Heretofore, the list price of a book had no bearing on popularity and rank. Now it does. Some bright authors at Kindle Boards figured it all out. There’s a podcast here, and articles here and here to break it down for you. The gist of it is this: if you price at $.99, you must sell more copies to be ranked comparably to those selling at higher prices. The KBers haven’t figured out how things are weighted exactly, and the whole thing is all still a bit hazy to me.

However, this explains why some Indie Janeites’ sales have not produced the results we expected. For example, I recently lowered the price of both my Southern Fraud Thrillers to $.99 and $1.99 respectively. I sold more books, but my rank did not improve at the rate I expected based on the number of sales; therefore, my visibility did not improve and I did not end up reaching as many readers as I’d hoped, meaning that I got less value out of my sale than anticipated. (Value meaning additional reach, and not necessarily additional dollars.)

 

Read the rest of the post on Indie Jane.

Kindle Nation Daily’s Letter to the Department of Justice in the DOJ eBook Price-Fixing Lawsuit Against Apple and Five Publishers

This is a reprint of a post written by Stephen Windwalker, from the Kindle Nation Daily site, and is reposted here in its entirety with his permission.

([Kindle Nation Daily] Editor’s Note: As we have mentioned before the U.S. Department of Justice (DOJ) has filed a major antitrust lawsuit against Apple and the five original “agency model” publishers charging them with a massive price-fixing conspiracy in violation of federal law. The DOJ Antitrust Division and the court wants to hear from members of the public during a 60-day comment period on the lawsuit which expires June 25, and what follows is my letter to the court. Please see this post for instructions on how to submit your comments. –Stephen Windwalker.)

June 18, 2012

Via Priority Mail

John Read, Chief
Litigation III Section
Antitrust Division
U.S. Department of Justice
450 5th Street, NW, Suite 4000 Washington, DC 20530

 

Dear Mr. Read,

I am writing to you both as an individual citizen, reader, author, and former independent bookstore owner, and also as the founder of  the Kindle Nation Daily website, one of the largest active communities of ebook readers and enthusiasts. Along with tens of thousands of other avid readers and thousands of other authors who are associated with the Kindle Nation Daily community, I am keenly interested in the Department of Justice’s (DOJ) civil antitrust action (United States v. Apple, Inc. et. al., Civil Action No. 12-CIV-2826) against Apple, Inc., and five of the largest U.S. book publishers (defendants). My purpose in writing this letter is to share and underline several points that I believe should be central points of emphasis for the DOJ and the courts as this case proceeds and legal remedies are considered.

My single most important point is one that I am sure the DOJ and the court understands well, but which appears to be a matter of confusion for many others: the major parties in this case are the six defendants (Apple and the five publisher defendants) and the DOJ, which is empowered here to act on behalf of consumers. While it ought to be obvious that this is so, and that the alleged collusion has robbed tens of millions of dollars from American consumers and denied them the opportunity to read millions of other books that they deemed they could not afford, many who have commented on this case have tried to shift the focus, from this irreparable harm to consumers, to the consequences of judicial action for other interested entities who are not parties to the case, including Amazon, Barnes & Noble, and countless other booksellers, authors, literary agents, and other intermediaries and players in the book business. As recently as today the headline in the New Yorker’s coverage of the case demonstrates this confusion: “Paper Trail: Did publishers and Apple collude against Amazon?” Of course it would be naive not to recognize the importance of the case to these players, but to seat them at the table as parties is to miss the point of the irreparable harm to consumers.

In an effort to place the primary focus where it belongs, I would like to offer the following points and perspectives:

 

1. By colluding to raise new-release ebook prices by 30 to 100 percent, the defendants have caused irreparable harm to millions of readers of all ages, including public school and college students and other children, families, and people of limited means who bought ebook readers or downloaded free Kindle apps based on the affordability of ebooks before the defendants imposed the agency model. Prior to the launch of the Kindle it was widely believed that reading was on the decline in the U.S., as noted by the late Steve Jobs when he declared early in 2008 that the Kindle was a flawed concept “because nobody reads any more.” Among the reasons for the decline of long-form reading were rising prices for new hardcovers and paperbacks, the closing of many public library branches and bookstores, and the diminishing selection of physical books offered to the American public through existing distribution channels. The launch of the Kindle in 2007 and the fact that Amazon made Kindle apps free for anyone with a smartphone, a computer, or a Kindle meant that any reader could have a well-stocked bookstore at their fingertips just about anywhere in the U.S. and beyond. The Kindle platform succeeded because of its catalog, convenience, competitive pricing, and Amazon’s customer base and unflinching commitment to the platform, and its success has helped to fuel a resurgence in reading that is bridging the digital divide across class and age lines. The Kindle store pricing that some of the defendants and other Amazon critics demonize as “predatory” has had a wonderfully positive effect on this resurgence in reading, and has social, economic, and cultural value far beyond anything that would be achieved, for instance, by propping up the defendant publishers or another player like Barnes & Noble.

 

2. Illegal collusive behavior must not be separated from the consequences of that behavior, either in the punishment of the behavior or in the remedies proposed. Many of the more thoughtful critics of the DOJ action have taken pains to state that they have no knowledge or legal expertise about the collusive behavior alleged by the DOJ, but such behavior and its objectives are and must remain at the center of this case: the DOJ alleges with an impressive recitation of evidence that the defendants participated in an unprecedented conspiracy to force retailers to raise their new-release ebook prices by 30 to 100 percent. If that’s what happened, the defendants must be punished and retailers must be allowed to restore competitive pricing. For the publisher defendants to claim no wrongdoing after they kept their corporate counsel out of the rooms in which the collusion allegedly occurred is, if the defendants acted as alleged by DOJ, an insult to the court and to all interested parties. When companies collude or conspire to raise prices to the detriment of consumers, they know full well that they are on thin ice. In this case, because of the defendants’ collusion, consumers paid tens of millions more than they would otherwise have had to pay for ebooks. In countless other cases they had to refrain from buying ebooks they hungered to read. Because of what the defendants did, they should not only have to stop doing it, but they should remain under close regulatory scrutiny (as spelled out in the proposed settlement) for years, and they should be required to pay tens of millions, and ultimately perhaps hundreds of millions, in actual and punitive restitution to consumers.

 

3. The U.S. publishing industry is fond of saying that “the DOJ doesn’t understand the book business.” However, the defendant publishers and their associated intermediaries and gatekeepers arrived in the 21st century very poorly prepared for the future either in their fundamental economic cost structure or in their commitment to invest in innovation. The industry’s major players do not deserve any fate other than that which a collusion-free marketplace holds for them. On the other hand, over the past decade, increasing numbers of authors, booksellers, publishers and others have combined innovation, the use of new technologies, and some risk-taking to circumvent what many feel has become a rather calcified literary-industrial complex and instead established new and profitable models for making more direct connections between authors and readers. In spite of the fact that readers are paying less for ebooks than they have paid in the past for print books, most of the authors of distinction who are taking a direct route to publishing are earning greater royalties than they would ever have received from traditional publishers. They have shortened the publishing timetables from years (or in some cases decades) to months or weeks. While traditional publishing players lament the costs, for themselves, of disintermediation, tens of thousands of others are clear winners in a world where intermediaries are no longer sheltered from the need to prove their worth. The defendants and their apologists have attempted to lock in the wastefulness and flawed economic decision-making of the industry and its intermediaries by passing their costs on to consumers in the form of the 30 to 100% price increases imposed by the agency model, but claims that DOJ should protect the intermediaries in the publishing world have neither a legal basis nor any value for the culture or the country. It would be more accurate for publishers to say that the DOJ “doesn’t understand our book business the way that we understand our book business.” That would be fair in a certain sense, but the truth is the publisher defendants’ focus on their own understanding of how the publishing business used to work has kept them from evolving and understanding how the publishing business works now, and how it may work for at least a few years in the future.

 

4. The U.S. book publishing and bookselling business has been undergoing enormous change and disruption for decades, but the book trades are not a public utility. It is not the role of government or the courts to prop up the industry or any of its players. It would be especially inappropriate for the government or the courts to manage the aforementioned change and disruption so as to punish innovators, provide life support for second- and third-movers or protect industry players whose demise may be imminent due to their lack of innovation or financial discipline. The number of independent booksellers has been in steady decline for decades and will almost definitely continue to decline for the next several years, regardless of the DOJ action. Over the 20-plus years since I owned an independent bookstore and was a member of the American Booksellers Association in the 1980s, there have been many bogeymen blamed for the demise of independent brick-and-mortar bookselling, including of course Barnes & Noble itself. Like Borders before it, Barnes & Noble may well go out of business in the next few years because of poor management of real estate costs and its late, second-mover entry into the two major growth markets for bookselling in the past 15 years, online bookselling and ebooks.  But the idea that the DOJ should be in the business of propping up Barnes & Noble by reframing the remedies in this case is as odious as it would be if we were to substitute the name of WalMart in the equation, particularly after Barnes & Noble has played as great — and some would say as “predatory” — a role as any other company in hastening the demise of independent retail brick-and-mortar bookstores over the past few decades. Nor should DOJ prop up independent booksellers, as much as we may lament their demise. Sadly, the focus on the various bogeymen blamed for these developments, and booksellers’ ideological opposition to the Amazons and others, has too often taken those booksellers’ focus away from the kinds of innovation and entrepreneurial thinking that have saved some bookstores and might, if in greater evidence, have saved far more. Nor is it true that even a single independent bookstore would be saved were the DOJ or the court to reframe its proposed remedies so as to save Barnes & Noble or to soften the impact for the defendant publishers.

 

5. The widely promulgated notion that the agency model has created a lush garden of innovation in the ebook business is patently untrue. The initial Barnes & Noble Nook was widely seen as a second-mover product that was very nearly dead on arrival when it was launched several months before the advent of the agency model. It began to gain traction only when the agency model guaranteed Barnes & Noble a 30% gross margin and freed it of any need to compete with Kindle Store pricing. By Barnes & Noble’s own public admission, the Nook might well have failed in free-market competition if it had not been for the agency model conspiracy. The primary Nook “innovation” advanced to date is the relatively minor enhancement of a front-lit glowing screen, and other elements of the Nook infrastructure such as the Pub-it authorship platform are barely distinguishable from previously existing elements of the Kindle infrastructure. Much and perhaps most ebook reading on the iPad and iPhone occurs in the Kindle environment, and Apple’s claim that the iPad and its search-unfriendly, thinly populated iBookstore are successful innovations is a fantasy: the primary success of the iBookstore has been that it made the agency model price-fixing scheme possible in the minds of the defendant publishers.

 

6. Many of the arguments against the DOJ’s action and proposed remedies are based on intense fear and loathing of Amazon, none of which is surprising in an industry which is both change-averse and especially well-connected to the chattering classes in the national news media. It is absolutely appropriate for the DOJ and other government agencies to continue to scrutinize Amazon’s behavior as a corporate taxpayer, as a direct or indirect corporate employer, as a gatherer of customers’ private information, or as a competitor in the national and global business marketplace. DOJ may well be justified in taking future action on one or more of these issues, but there is no basis for penalizing Amazon now because it is big, because it is an aggressive innovator whose success is based on disrupting existing business models, because it has shown a creative capacity to reduce consumer prices while still paying full wholesale prices itself, or because smart disintermediation allows it to pay an author a higher royalty for a $5 ebook sale than a traditional publisher would pay an author for a $25 hardcover sale. If at some point in the future Amazon uses its growing marketplace clout to squeeze authors or publishers, for instance, DOJ should not hesitate to haul the company into court, but such behavior cannot be presupposed, and indeed it would require such a radical change in Amazon’s business model that it would be immediately obvious to all.

 

7. Although Barnes & Noble attorney David Boies indulges windy, sweeping prose on behalf of “the national economy and culture, the future of copyrighted expression and bookselling in general,” he does not provide any evidence or argument that cultural and business trends that are already well underway would be reversed if the DOJ action were not taken. The bottom line in Boies’ argument is the bottom line for Barnes & Noble, a failing company that is choking to death on its own expensive real estate leases and its lack of innovation during the decade when its former primary position in the U.S. retail book business was overtaken by a much more innovative upstart competitor. In service of that bottom line, Boies wants DOJ to frame its actions so as to prop up and protect Barnes & Noble so that, for as long as it is able to hang on, it can wring as much profit as possible from its second-mover status in the ebook marketplace. But the bottom line for consumers should take precedence over Boies’ desire to keep Barnes & Noble on life support. Consumers who purchase and read ebooks have lost tens of millions of dollars because the defendants conspired to raise the prices of bestselling ebook new releases. The defendants’ behavior described in the court documents has been reckless, avaricious, and destructive — perhaps even to “the national economy and culture, the future of copyrighted expression and bookselling in general” — and the DOJ should not rule out the possibility of criminal prosecutions if facts warrant as this action proceeds. Finally, it is somewhat surprising that we must take pains to correct some of the utterly inaccurate notions with which attorney Boies has burdened the record in this case. Among the country lawyer’s tricks with which Boies has attempted to dazzle us are his claims that the American public opposes the DOJ action because Manhattan Senator Charles Schumer opposes it, or that authors oppose the action because Boies has offered up a quotation from Scott Turow, president of the notoriously litigious Author’s Guild, which has been on record in the past as opposed to public library book borrowing.

 

8. The proposal by some that fairness could be achieved via a decision to allow publishers to mandate uniform retail prices would be catastrophic for readers. Such a mandatory price-setting scheme would reward the colluders and would do more to maintain the outmoded status quo in the publishing world than other step that has been proposed. Worst of all, of course, it would allow the defendants to continue to steal tens of millions of dollars each year from the pockets of consumers.

 

9. Instead of innovating to become leaner, faster, and more profitable in the new world of publishing, the defendants decided to try to stop time by breaking the law. Faced with the fears that motivated the agency model conspiracy, publishers might have taken a different, more innovative path. They could even have followed such a path collectively without fear of violating anti-trust laws. When Amazon launched its new, disruptive ebook business model, beginning ever so slowly in November of 2007, publishers might have reimagined and restructured the book business with new, innovative, more efficient, and profitable roles for themselves. They might have created their own online retail outlets to offer their titles in Kindle-compatible ebook form. They might have worked with brick-and-mortar booksellers to bundle ebook and digital formats at handy little kiosks in every bookstore. They might have turned ebooks into the 21st century reincarnation of Literary Guild and the Book-of-the-Month Club, those 20th century behemoths that managed to sell millions of hardcover books for 99 cents each without creating any significant scare over the erosion of “the value of the book.” They might have tried to strip away the excess weight of unsustainable corporate costs and their reckless addiction to gamble huge advances for bestsellers, to rework their economics at new, competitive price points. They might have said, “We’re no longer going to pay for intermediaries that add no value.” They might even have pursued one of the collective strategies that they considered and rejected back in 2009, called Project Z or Bookish, to create a joint venture that would establish a new ecommerce platform to sell ebooks wholesale to retailers, or retail to the ebook-buying public.

 

10. Although neither Amazon nor Barnes & Noble are full parties in this case, the DOJ and the court should impose one burden on both companies (and on defendant Apple Inc. and perhaps other ebook retailers) as part of the remedies associated with the actual and punitive restitution that defendants should be forced to pay to consumers. Specifically, the ebook retailers should be required to provide to all of their customers a detailed record of all ebooks that they ordered during the full period of the agency model from April 1, 2010 until the present date or beyond, in order for customers to qualify for the restitution payments due them.

I am grateful to the DOJ and to the court and all parties for your consideration of these matters, and I hope that all concerned will take these views into account in this case.

Sincerely,

Stephen Windwalker

Books In The Age of the iPad

This post, by Craig Mod, originally appeared on his site in March of 2010, but it’s as relevant as ever today.

Print is dying.
Digital is surging.
Everyone is confused.

GOOD RIDDANCE.

As the publishing industry wobbles and Kindle sales jump, book romanticists cry themselves to sleep. But really, what are we shedding tears over?

We’re losing the throwaway paperback.
The airport paperback.
The beachside paperback.

We’re losing the dregs of the publishing world: disposable books. The book printed without consideration of form or sustainability or longevity. The book produced to be consumed once and then tossed. The book you bin when you’re moving and you need to clean out the closet.

These are the first books to go. And I say it again, good riddance.

Once we dump this weight we can prune our increasingly obsolete network of distribution. As physicality disappears, so too does the need to fly dead trees around the world.

You already know the potential gains: edgier, riskier books in digital form, born from a lower barrier-to-entry to publish. New modes of storytelling. Less environmental impact. A rise in importance of editors. And, yes — paradoxically — a marked increase in the quality of things that do get printed.

From 2003-2009 I spent six years trying to make beautiful printed books. Six years. Focused on printed books. In the 00s.

And I loved it. I loved the process. The finality of the end product. I loved the sexy-as-hell tactility of those little ink and paper bricks. But I can tell you this: the excitement I feel about the iPad as a content creator, designer and publisher — and the potential it brings — must be acknowledged. Acknowledged bluntly and with perspective.

With the iPad we finally have a platform for consuming rich-content in digital form. What does that mean? To understand just why the iPad is so exciting we need to think about how we got here.

I want to look at where printed books stand in respect to digital publishing, why we historically haven’t read long-form text on screens and how the iPad is wedging itself in the middle of everything. In doing so I think we can find the line in the sand to define when content should be printed or digitized.

This is a conversation for books-makers, web-heads, content-creators, authors and designers. For people who love beautifully made things. And for the storytellers who are willing to take risks and want to consider the most appropriate shape and media for their yarns.

Defined by content

For too long, the act of printing something in and of itself has been placed on too high a pedestal. The true value of an object lies in what it says, not its mere existence. And in the case of a book, that value is intrinsically connected with content.

 

Read the rest of the post on Craig Mod’s site.

5 Ways to Have Your eBook Done By Next Friday

This post, by Kim Letendre, originally appeared on the Book Marketing Alliance site.

A proven expert at writing and publishing eBooks, Jim Edwards just outlined his suggested methods for bringing your idea for an eBook to fruition very quickly.   I had to laugh when I heard him in an interview say that his mother thought he was selling porn on the internet – using his computer to make money just wasn’t the norm back in 1997.

OK, so he’s the expert!

 

He brings the possibility of making money to reality by creating salable content in a very short amount of time from ideas in your head.  People will buy your ideas if they can:  make money, save time, save money or be successful.  These are just a few of the reasons people will buy eBooks, and if you can combine a couple of those core hot buttons, you will have a target audience.

The steps Jim discussed in the first session of the Digital Publishing Summit were:

  1. Convert your existing material into an eBook.  Chances are, if you consider yourself knowledgeable on a subject, you may already have content written, in the form of articles, special reports, or simply notes that you have made for yourself.  When reworking or re-writing this content, keep in mind the audience you are targeting and the promise you have offered to fulfill.  If you keep those two pieces visible while you are rewriting your existing content, you will be writing from the subconscious.  Keeping the message visible in the title, the tagline and the overview will attract the person who needs to buy your book.
     
  2. Complete a written interview with an expert.  Have a list of questions available to ask a few experts.  These can be in the form of an email where you write the questions out to the experts you want to interview and then you assemble them into content.  One suggestion is to be sure you are the first “expert” that you are interviewing.  You have to be of the same caliber as the guests you are interviewing so you can be the person the reader turns to for answers.   Be sure you interview several experts, giving you varying as well as abundant content to be able to offer value.  Adding personal stories or comments throughout the book will give more substance and will give you credibility.

 

Read the rest of the post on Book Marketing Alliance.

Non-US Self-Publisher? Tax Issues Don’t Need to be Taxing

This post, by Catherine Ryan Howard, originally appeared on her Catherine, Caffeinated blog on 2/24/12.

OH FOR THE LOVE OF FUDGE.

That’s what this whole tax-withholding-for-non-US-residents makes me want to scream. Out loud, and repeatedly. But as I’ve said before, self-publishing your e-book on the biggest online retailer in the world is so easy, there had to be something like this to balance it out.

If you haven’t been keeping up with this ongoing saga, here’s a quick recap. I spent eight months, give or take, trying to get my own Individual Tax Identification Number (ITIN).

I relied on the experiences of two other self-publishers, Sally Clements and Roz Morris, to help me out; the information the IRS provides wouldn’t help you find your way out of a small paper bag, let alone anywhere near an ITIN. Luckily once I had the damn thing, getting my full royalty payments and the money withheld from me in the year to date was easy and quick. But then, in the last few weeks, people started telling me that I didn’t need an ITIN at all—an Employee Identification Number (EIN) would’ve done the job, and an EIN was much easier to get. I posted about this possibility, and fellow Irish self-publisher David Gaughran volunteered to be the guinea pig—and got his EIN within minutes, and over the phone. This was extremely useful information, especially since another commenter (thanks, Janet!) told us that new IRS rules mean that starting this year, monies withheld will only be available for refund through the IRS—and not refunded automatically by KDP and CreateSpace, as they have been up until now.

I feared that most people wouldn’t read through all the comments on the original post, so I asked David to write a guest post for us here about how he got his EIN. Take it away, David…

“As many of you will know, Amazon and Smashwords are required by law to withhold 30% of the royalties earned by non-US authors until they settle their tax status. The commonly accepted method of doing so was going through the laborious process of getting an International Tax Identification Number (ITIN), which necessitates arcane form-filling, notarized copies of passports, embassy trips, fees, and inexplicable rejection (writers should at least be used to the last part). And indeed, this was the path I was on myself, up until yesterday.

In the last few weeks, I had heard some mutterings that there was an easier, quicker way, but hadn’t had time to look into it. After Catherine’s post on Monday, suggesting that self-publishers might be able to get an Employer Identification Number (EIN) instead, which will also do the trick, I decided to give it a shot.

First things first: I’m no tax expert. In fact, the entire subject turns my brain to soup. And I know as much about the law as this guy. All I can explain is how I got my EIN in ten minutes and how you should be able to do the same.

One final caveat: this only applies to self-published authors who are publishing through their own company (and that company must be set up outside the US). While the IRS doesn’t appear to ask for proof that you have actually established your own publishing company, I’m sure there are all sorts of reasons why you shouldn’t commence this process until you actually have.

 

Read the rest of the post on Catherine, Caffeinated.

If You Think Amazon Is Gouging You On Delivery Costs, It's Only Because You Didn't Do The Math Up Front

I’m seeing some online noise lately from authors who are outraged at the "delivery costs" being deducted from their KDP book royalties. These authors are posting angry diatribes against Amazon on their sites, blogs and social media accounts, railing against Big Bad Amazon and their sneaky, author-cheating, money-grabbing tactics.

Here’s the problem: it’s those authors’ own fault if Amazon is retaining so much in delivery costs that their books aren’t earning a respectable royalty, because those authors OPTED IN for a royalty percentage that includes a deduction for delivery costs in the first place.

When you publish a Kindle book through KDP Select, you must decide whether to choose the 70% royalty or the 35% royalty option. Many non-detail-oriented authors just click that 70% option without considering, or even knowing, the repercussions of that choice.

Two such repercussions are delivery costs and royalty as a percentage of sales price. These are important, because they impact the amount of money you ultimately earn per copy sold.

If you go with the 35% option, your royalty per copy sold is 35% of the retail price you set, period. Even if Amazon elects to discount your book for some reason, you get 35% of the original price you set on every copy sold.

If you go with the 70% option, your royalty per copy sold is 70% of the retail price you set, minus delivery costs, with some caveats. Delivery costs are as follows, per Amazon’s current pricing page on the KDP site:

Amazon.com: $0.15/MB
Amazon.co.uk: £0.10/MB
Amazon.de: €0.12/MB
Amazon.fr: €0.12/MB
Amazon.es:
€0.12/MB
Amazon.it: €0.12/MB

Obviously, the larger your file size, the higher your delivery cost, and the lower your net royalty per copy sold. In every one of the angry posts I’ve seen, the book in question was heavily illustrated or formatted, resulting in a huge file size. It would’ve been a simple thing for these authors to do the math ahead of time based on their books’ file size, and if they had done so, they likely would’ve concluded the 35% option was the smarter way to go for these particular books.

There’s a KDP FAQ that explains these details right here, and per another section of the FAQ, the average delivery cost per KDP book is six cents. For a book containing only text and maybe a handful of decorative embellishments, that’s a totally reasonable and believable figure. Straight text novels I’ve published or formatted generally come out somewhere between 240 – 350 KB, so on such a book, the delivery costs are negligible.

Note that you can choose different royalty options for different KDP books, it’s not like you must choose one or the other and then it applies to your entire KDP catalog.

Now, back to those caveats. There are other factors to consider before choosing the 70% option, and these are fully disclosed and explained in the KDP royalty FAQ section about the 70% royalty option.

First, if you’re selling your book on other sites (even if in other formats) and any of those sites decide to discount your book for any reason, Amazon will immediately discount your book to match the lowest price its ‘bots find on the web and base your royalty calculation on that price—NOT the list price you originally set. This is why I generally advise authors who are selling through multiple outlets to go with the 35% option, because they have no control over vendor pricing, and with the 70% option their royalties will be entirely unpredictable because the book’s ultimate sales price on Amazon will be unpredictable.

Second, you must set a retail list price between $2.99 – $9.99 for your book. Some authors will balk at the low end, since it excludes 99 cent and $1.99 pricing, others will balk at the upper level because for some books, especially textbooks or technical books, it may be legitimate to charge more than $9.99.

I won’t detail everything else one needs to consider before making the choice between the 35% and 70% royalty options, because frankly, if you’re the author-publisher, that’s your job. And if you don’t take the time to research the consequences of your publishing choices, that’s nobody’s fault but your own.

 

This is a cross-posting from Publetariat founder and Editor In Chief April L. Hamilton‘s Indie Author Blog.

The Business Rusch: Hurry Up. Wait.

This post, by Kathryn Rusch, originally appeared on her site on 6/13/12.

I’ve been doing a lot of thinking about the differences between traditional publishing and indie publishing this week. Almost every day, some writer writes to me and asks if they should go traditional or indie on some new project.

Sometimes the writer has just finished his first novel, and wants to know what to do with it—go the traditional route or publish it himself.

Sometimes the writer is a long-time professional who has noticed indie publishing and wants to give it a go.

And sometimes the writer has done a little indie publishing and a lot of traditional publishing, and wants to know which is best for the current project.

Usually I can’t help them. It truly is a personal choice. For the most part, contract terms and confusing royalty statements make long-term earnings in traditional publishing dicey at best. But indie publishing has its own drawbacks, including a bit of financial outlay up front to make certain the book is the best it can be.

(Hire a copy editor, folks. Really. And a line editor. Or two truly anal friends who care nothing about plot and everything about commas and repetition. An editor or super reader would be nice to help you on the plot side. It would be nice if you managed a professional cover and interior design. And as a reader, I’d really like it if you have a print-on-demand version.)

I have no idea what another writer’s circumstances are. I don’t know if she has the time to upload her works on Kindle or if she barely scratches out enough time to write 1,000 words per day. All of those things matter.

But, for a minute, let’s forget the contract terms, the financial realities, the business decisions, and pretend all books are equal.

If we do that, if we get rid of the individual decisions, and look only at the way the two publishing systems work, we can see the differences in very stark terms.

Here’s what you’re choosing between:

Hurry up and wait

Or

Wait and hurry up

Seriously.

The industry has bifurcated. The two parts of book publishing are so drastically different in their approaches that they can barely talk to each other. Mostly, they fail to realize that they don’t even use the same language. As a result, they measure success differently because they measure everything differently. I’ve talked about this before, primarily in a post called “Bestseller Lists and Other Thoughts.”

First, let’s look at what the different attitudes are, and then let’s examine what those attitudes mean for writers.

 

Read the rest of the post on Kathryn Rusch’s site.

Grow Your Crazy-Dedicated Fanbase through Reader-Centered Book Marketing

Publetariat Editor’s Note: Today we’re pleased to welcome Toni and Shannon, the self-publishing experts over at Duolit, to our roster of regular Contributors with this reprint from their site.

What are some of the biggest books in publishing today? Twilight, Harry Potter, The Hunger Games.

What do they have in common?

Well, yeah, the YA genre. And the fanbases transcending any one target market. Also the multi-billion dollar movie franchises. But what else?

Crazy, rabid fans.

These folks will fake engagements to try on Bella’s wedding gown, get a full back tattoo featuring Dumbledore and spend hours creating elaborate signs declaring their love for Peeta.

How would you like to have fans like that going nuts over your book?

 

Okay, maybe you could do without quite that level of craziness. Still, wouldn’t it be nice to have readers spreading the word far and wide about you and your book?

That’s what I thought.

Guess what: fans like that? You can have them.

Sure, without the backing of Scholastic or Bloomsbury it won’t happen overnight. You’ll have to dig in for the long haul and get your hands dirty.

But, you’re an indie author — you’re not scared of a little hard work, right?

Suffering from Book Marketing Apathy?

Much of what I’ve seen out there in indie-land, however, seems to indicate otherwise. What’s up with that?

I call it “book marketing apathy.”

Some indie authors think that readers will appear out of thin air, throwing dollars at them mere seconds after their book is published. Others see marketing as an afterthought, as some sort of unnecessary burden. And yet others appear to have given up altogether, sadly begging for book purchases on Facebook or Twitter.

Don’t let that be you.

The 4 Truths of Indie Book Marketing

  1. It takes time.
  2. It takes effort.
  3. It takes dedication.
  4. It is totally worth it.

Your readers ARE out there, but they’re not going to find you by accident.

For the next few weeks, we’ll teach you how to stand out above the crowd and earn those crazy-dedicated readers through reader-centered book marketing.

It sounds silly and obvious, but it’s actually quite rare to see — authors focused on not only promoting themselves, but also providing value to their readers.

Are you following the Golden Rule?

Honestly, it all boils down to this — let’s call it the Golden Rule of Reader-Centered Book Marketing – treat your readers as you’d like to be treated.

To implement this “Golden Rule” you must:

1. Have the Right Attitude

If you’re not enthusiastic, confident and passionate about your work, how can you expect to jazz up readers?

Remember, just a few years ago, authors’ publishing fates were solely in traditional publishers’ hands. Take pride in your indie author status  and the fact that you have self-published your book!

Although you’ve likely experienced doubts about your writing, if you’ve taken the time to write, editdesign and publish a book that you know is your best work, act like it!

Blog tour and guest post to get your name out there, then eagerly engage each commenter and new reader — provoke discussion, answer their questions and value their perspective.

2. Give More than You Take

A common mistake many authors make (most likely out of sales desperation) is to make their only “message” one of pressure; one focused on selling their work.

This is a *huge* turnoff to potential readers!

A better method to earn readers is to share something of value (instead of strictly selling). Once they experience your generosity (and get a taste of your crazy talent in the process), they’ll gladly become faithful readers.

Some ways for you to provide value to potential readers include:

  • Writing guest posts on blogs your readers frequent
  • Recommending other books you’ve enjoyed
  • Providing free excerpts of your work
  • Giving away free copies or other goodies

Give, share and give some more and finally, when the time is right, ask your readers to give a little something back.

3. Think The Avengers, not Survivor

If you’re a reality TV geek (like, sadly, I am), you’re familiar with the motto of Survivor: outwit, outplay, outlast. Players constantly backstab, use and abuse each other in an effort to win $1 million.

That go-it-alone mindset may work for the last Survivor standing, but it won’t help you and your book!

A better method is that of The Avengers: work together.

Establish relationships with other indie authors, but don’t go about it willy-nilly. Be genuine; only reach out if you actually like and respect the author and their work.

Once you’ve teamed up, leverage the power of your combined readerships by:

  • Cross-promoting each other’s work through social media
  • Introducing each other to blogger friends for guest posts and interviews
  • Brainstorming ideas for giveaways and promotions
  • Supporting and motivating each other with things get tough

4. Don’t Let Your Readers Down

Once the new readers start flowing in, you must continually work to keep them by:

  • Encouraging them to subscribe to your mailing list and send out an update at least once a month
  • Keeping a schedule for updating your blog
  • Providing value through exclusive rewards and promotions

Whatever you do, don’t forget about them!

Ensure, however, that you’re only passing along valuable information to your fans (never spamming or pressuring). Don’t let your new fans down!

Call it the Wild Wild West rule: how many successful July 4th Will Smith movies did we get after that flop (which, for the record, I enjoyed)?

Remember: without a fanbase, you’re just writing for yourself, your mom and the Twitter spammers. 

Go Forth and Earn Some Youphiles!

Ready for more reader-centered book marketing goodness?

Next week we’ll discuss how to uncover the identity of those crazy-dedicated readers (and show you a targeting tool even more specific than your target market), but the concepts above give you something to work on in the meantime.

At the conclusion of our series, we’re unveiling a super-special book marketing workshop exclusively for indie authors who receive (totally free) updates from us. So, if you’re not on that list, hop to it!

You’ll also receive Self-Publishing Basic Training, a rockin’ 35-page guide to the basics of self-publishing, as an added bonus.

Talk Back

I’m curious: how do you take care of your readers? Do you find reader-centered marketing practices work better than pressuring and groveling? Am I totally wrong about everything I said above? Let me know in the comments!

 

This is a reprint from Duolit.

 

14 Ways To Ask For A Favour

This post, by Jean Oram, originally appeared on her site on 6/8/12.

Have you ever been asked a favour by another writer? Chances are (if you are online), you have. It might have been critiquing a query or chapter, or helping them with heir marketing and publicity. Lately it seems that writers and authors are flooding social media with lots of favour requests that are unintentionally turning folks off.

I’m sure I’ve done it… how about you?

There is an art in “the ask” and many of us get it wrong. Dreadfully, horribly wrong.

But we can fix it! We writers are awesome at getting into the heads of others, being creative, and being general, all ’round nice people.

Two key things to keep in mind so you don’t abuse other writers. First of all, writers are busy people. Heck, all people are. But writers usually have a lot going on all the time–especially when we are trying to get our career off the ground, or heck, even pushed away from the terminal! Second, we are a very generous sort and love to help out other writers because one day (hopefully soon) we will be in their shoes looking for some friend lovin’ as well. It’s super easy to abuse that unintentionally. (We say yes because we fear we may never be given an opportunity again if we don’t.

A Good Ask

I love this ask that I got via a direct message on Twitter from the lovely and talented author Claire Cook (Must Love Dogs). After a few tweets and mutual follow on Twitter she said in a DM: “Please like my FB author page if you have an extra minute. And let me know if I can like yours! facebook.com/ClaireCookauth….” That is a good ask. I believe I liked her page. I did not ask her to like my pages back even though they are in need of some “like” love. Why? I believed that it wouldn’t fit her brand and it didn’t feel right. But liking her did.

By the way, I get a lot of DM’s asking for FB likes and her’s is the first that has received action. And, at first glance I thought her DM was unlike the others because it felt as though it was meant just for me. Later I realized that it could have been an autosend. But it didn’t feel like it. It felt personal.

KaBOOM!, a playground action group, contacted me via my It’s All Kid’s Play (.ca) website as we had done some tweeting back and forth. They contacted me to ask if I could help spread the word about an upcoming summer challenge. They provided all the information I needed about their challenge as well as a fantastically easy to follow through upon ask that included this tidbit I could copy and paste into Twitter: “My friends at @Kaboom want you to take their #playgroundchallenge! Visit playgrounds for a chance to win a trip to DC. http://bit.ly/K5GfQw”

Which I did. I also gave it a personal spin and off it went. Easy. Even though I believe 100% in their challenge, I may not have sent off this tweet if they hadn’t have made it so easy for me to do so. (In the end I also ended up being a beta tester for their Android app (it maps Playgrounds–is awesome and is available on the iPhone already) and next week will be posting an interview with them about their challenge on my It’s All Kid’s Play blog. Wow. They got a lot from a simple, well-done email, didn’t they?

So, how do we get favours granted?

Ask for a Favour? 14 Tips That Lead to a “Yes”:

  1. Be clear.
    What do you want me to do? Is it to buy your book? Share your coupon? Like your page? Follow you?
     
  2. Be specific and to the point.
    I don’t need the story of your life. Remember: You are taking up someone’s precious time.
     
  3. Why should I?
    What’s in it for me? Why should I help? If you make your ask about the giver, they are more likely to help out. Think of it this way. I tell you to buy my book because it is a bestseller and everyone thinks it’s funny. Uh, great? But what if I told you that this book will change the way you think about your neighbourhood, the way kids play, and give you more time to spend playing with your kids. Hmmm. Suddenly that feels a little more personal and intriguing. There might be some personal value in this.

 

Read the rest of the post on Jean Oram’s site.

How Amazon Saved My Life

This post, by Jessica Park, originally appeared on indiereader on 6/6/12.

I am an author.

I still can’t get used to that title, but I suppose after having written seven books–five of them traditionally published–that’s what you’d call me.  The funny thing is that I feel more like a real author now that I self-publish than when I had the (supposed) support of a publisher behind me.

How did I end up on my own?  It began when I couldn’t get my first YA book, Relatively Famous, published, despite getting stellar feedback from editors and nearly selling the film rights to a teen pop star. I was at a loss for what to do. I couldn’t keep writing books without selling them. What if the next thing I wrote flopped? I took a risk, in many ways, and wrote Flat-Out Love. It was the first book that completely came from my heart, and it was a book that ignored all the industry rules. I knew in the back of my head that I could self-publish it, but at the time it seemed like that would have been an admission of defeat.

I spent months thinking that I needed a big publisher in order to be a writer, to legitimately carry that “author” title. To validate me, and to validate Flat-Out Love. I needed a publisher to print my books and stick a silly publishing house emblem on the side of a hard copy. They were the only way to give my books mass distribution, and having them back me would mean that readers would know my book was good.

I also, apparently, thought that I needed to be taken advantage of, paid inexcusably poorly, and chained to idiotic pricing and covers that I had no control over.

I was, it seems, deluded.

It turns out that I was entirely wrong. I was missing what I really wanted. One of the major reasons that I write is to connect with readers, not publishers. The truth is that I couldn’t care less whether New York editors and publishers like me. I don’t want to write for them. I want to write for you. The other undeniable truth is that readers could care less that my books aren’t put out by a big publisher. They read for the content, not the publishing house emblem.

I have a lovely, smart, powerhouse agent, who tried to sell my next book, Flat-Out Love, to every major publishing house. She adored the story and thought it would sell. Fourteen editors turned it down, although each one said how strong the book was. But, editors seemingly didn’t give a crap about whether or not they liked the book. What they did pay attention to were their totally misguided ideas about what would and wouldn’t sell. I heard two things over and over again about my book. The first was that my story starred an eighteen-year-old college freshman, and that age was “categorically” too old for YA books and too young for adult books. It seems that one is not allowed to write about characters between the ages of eighteen and…what? Twenty-five? Because… because… Well, I’m not sure. The second thing I heard was that because my simultaneously-too-young-and-too-old heroine was not involved with anything slightly paranormal, the book wouldn’t sell.

Did I cry over some of these rejections? Absolutely. Did I feel inadequate, untalented, hurt? Yes. Did I doubt my ability to craft a story that readers could fall in love with? You bet.

And then one day I got yet another rejection letter and instead of blaming myself and my clear lack of creativity, I got angry. Really, really furious. It clicked for me that I was not the idiot here. Publishing houses were. The silly reasons that they gave me for why my book was useless made me see very clearly how completely out of touch these houses were with readers. I knew, I just knew, that I’d written a book with humor, heart, and meaning. I’d written something that had potential to connect with an audience. As much as I despise having to run around announcing how brilliant I supposedly am and whatnot, I also deeply believed in Flat-Out Love. I knew that editors were wrong.

And I finally understood that I wanted nothing to do with these people.

I snatched the book back from my agent and self-published it. With great relief, I should note. I could finally admit to myself that the only thing I had really wanted was to be told, “You’re good enough.” You know who gives me that? My readers. My generous, loving, wild readers.

Publishers pay terribly and infrequently. They are shockingly dumb when it comes to pricing, and if I see one more friend’s NY-pubbed ebook priced at $12.99, I’m going to scream. They do minimal marketing and leave the vast majority of work up to the author. Unless, of course, you are already a big name author. Then they fly you around the country for signings and treat you like the precious moneymaking gem that you are. The rest of us get next to nothing in terms of promotion. If your book takes off, they get the credit. If it tanks, you get the blame.

No, thank you. I’m all set with that.

 

Read the rest of the post on indiereader.