Articles specific to writing and publishing ebooks.
Operation EBook Drop has past the 201 Indie author participation level. The program donates eBooks via links and coupons to our brave deployed coalition forces throughout the world. For further informtion on the program or to join, go to:
blog.smashwords.com/2009/09/smashwords-supports-operation-ebook.html
This post, from Henry Baum, originally appeared on Self-Publishing Review on 7/28/09.
Ransom Stephens has written one of the best assessments of the future of publishing that you’re likely to read (found via Pod People). Called Booking the Future, it needs to be read – more than once. Here we talk about the ideas put forth in the article and the success of his digitally-published novel, The God Patent, which basically proves the thesis of his essay: the future of publishing is going to look very different than it does today.
It will have many elements of self-publishing writ large. As he says, “Though the role of publishing has not changed – connect readers to writers – the revolution will not be led by an established publisher.” The writers who are shunned by some in the lit business are actually the innovators. Publishing is about to go very digital.
Self-Publishing Review: Your book, The God Patent, has 7200 reads and growing. How did that happen? What’s it take to become a Scribd phenomenon? Did you promote the book a lot or did it just sort of happen?
Ransom Stephens: It kinda blows me away, I’m not sure how it happened.
The whole problem is signal to noise – having your signal emerge from the noise. When I got word that “The iTunes for books” was about to open, it seemed like an opportunity to get above the noise. I didn’t know when it would happen and I didn’t know who would do it. I got everything ready and waited. Then that first day came, May 18, and I jumped on.
I’ve promoted the book pretty much the same way I would a book in print. I’ve handed out 1000 bookmarks at bookstores and literary events and set them in obvious spots where people use computers. I didn’t catch the irony of handing out bookmarks for an ebook until I was introduced at a reading and the MC said that my bookmarks must require understanding of quantum physics to make them work with the scribd e-ink.
I think the bookmarks were a waste of money. The trick with an e-book is to get links in front of people. I used email. By the end of the month, I’ll have sent email to everyone who I’ve ever sent email to or received email from (sans spammers), about 2000 people. A lot of my friends have forwarded my emails to their friends and, I think this is really the key: there are a few people who flat out LOVE my book and they are the best salespeople. They quote it on Facebook, put links all over and stuff. That’s gratifying. And it was weird when my neighbor asked me detailed questions about The God Patent. It’s set in the town where I live, and she had a lot of questions about what was modeled after what and that sort of thing.
As a public speaker, I’ve been able to “capitalize on the bad economy” by giving speeches to mainstream audiences, sometimes even for free (since there is so little work out there right now), based on topics and themes in The God Patent. For example, the woman physicist in the book, Emmy Nutter, is based on the Emmy Noether, the Einstein contemporary who I think made the greatest contribution to mathematical physics of anyone. Ever. I have a speech titled “The Fabric of Reality” that focuses on her work that I’ve given to Rotary Clubs, some new-age groups, a science café, and have pumped up The God Patent at each one.
Ultimately though, I don’t see how anything I’ve done can account for the success The God Patent has experienced at Scribd.
SPR: Do you think posting work online changes how writers approach the work. Did you write your book thinking about how the book would work on screen with the glare of a monitor, and not on paper? If not, would you approach your next book differently keeping the Scribd audience in mind?
Read the rest of the post on Self-Publishing Review.
This is a cross-posting from Guy LeCharles Gonzalez‘ Loudpoet site.
Only those who know nothing of the history of technology believe that a tecnology is entirely netural… Each technology has an agenda of its own. It is, as I have suggested, a metaphor waiting to unfold.
Neil Postman, Amusing Ourselves to Death
There’s a lot of hand-wringing and finger-pointing happening in publishing these days, both by those struggling to find solutions to the challenges the industry faces, and by various Joker-pundits who apparently “just want to see the world burn.” Demagogues and idealogues love the spotlight, and attention-seeking media outlets happily provide them a stage to stoke faux controversies over what’s not being done, or is being done wrong, yelling loudly about the inevitable end of publishing as we know it!
Personally, I’m pretty confident that the end is not near; in fact, I’m very optimistic that new generations of readers will continue to be served by ambitious authors, passionate publishers, and brazen booksellers for many years to come. The individual players and channels may will change, of course, but that’s neither new nor a bad thing.
Change is good, inevitable, and in publishing, very necessary.
For all the talk of publishing’s supposedly imminent demise, there are far too many passionate people working in and around the industry, at every level, to let that happen. And whether they realize it or not, it doesn’t matter if they’re working for one of the major publishers or an independent press, in senior management or as an editor, author or bookseller — there’s a wide and fertile common ground we all share and it’s best represented by the community we all serve: the readers.
Ultimately, it’s readers’ changing habits that are driving the fundamental changes in the publishing industry – everything from the types of books they’re reading to the formats they prefer reading them in – and as a result, it’s the current business model of most publishers that’s under stress, not the community service of publishing itself.
I’m in Frankfurt this week for Tools of Change and the Book Fair, and I’m particularly excited about the opportunity to see Cory Doctorow, Richard Nash, Dominique Raccah, and the Pecha Kucha presentations at the former; and to get a glimpse of the global publishing community, including this year’s guest of honor, China, at the latter. I’m also here on behalf of Digital Book World, meeting some of our Advisory Board and sponsors, and getting feedback on the exciting program we’ve put together for the event in January.
Among the hot publishing topics of the moment, the eBook debate is perhaps the most torrid, and a particularly annoying one when it’s treated like a zero-sum game — Print vs. eBooks in a Battle to the Death! Death!! DEATH!!! It’s also fraught with larger implications for both publishers and authors alike that too many pundits willfully overlook (while pushing their own self-serving agendas), like DRM, international rights, and unequal access to information and technology.
Publishers are also facing the difficult question of justifying their role in the supply chain when the Internet has cracked the playing field wide open, making verticality a more viable model than it’s ever been, and enabling savvy authors and small presses to outmaneuver their larger, more established competitors.
On the flight over I caught up on some reading, a one-two punch of the July/August issue of the Harvard Business Review, and Neil Postman’s Amusing Ourselves to Death.
Postman’s must-read classic could easily have been written in 2009 about the current Internet era; many of his critiques of television apply doubly today, especially with regards to social media, and there are many interesting parallels to be made in the current “battle” of print vs. eBooks.
HBR’s “Managing in the New World” special issue offered a thorough and insightful look at what’s changed and what needs to change for businesses to survive in 2010 and beyond, noting that, “An organization that depends solely on its senior managers to deal with the challenges risks failure.”
Coupled with that statement, perhaps the most relevant article in the issue is Henry Mitzenberg’s “Rebuilding Companies as Communities“, which argues that in order to succeed in the future, companies have to become places “where people are committed to one another and their enterprise.”
Leadership at the center. A robust community requires a form of leadership quite different from the models that have it driving transformation from the top. Community leaders see themselves as being in the center, reaching out rather than down. They facilitate change, recognizing that much of it must be driven by others.
This week, I’ll be giving a lot of thought to what I can do to help move the industry forward in a community-centric direction, and I already have a few intriguing ideas that will unfold over the coming months.
What are some of the things you’re doing from your vantage point to serve the publishing industry’s community of readers?
This post, from the 3G1B collective (Dennis Haritou, Jason Rice, Jonathan Evison and Jason Chambers), originally appeared on Three Guys One Book on 10/19/09.
3G1B has an ongoing conversation, the subject of which: "what the hell is going to happen to publishing in the future?" disturbs us all. This week we have invited Craig Nova to tell us what he thinks. Craig is the award winning author of 12 novels. His new novel, The Informer, will be released in January 2010.
CN: the first thing that comes to mind when I consider writers and the state of publishing is one of those science fiction movies from the fifties, you know, where some light is seen in the sky and then something like a smoking bowling ball lands someplace and then a couple of geeks get out of a pickup truck. They find a stick and poke the smoking bowling ball and say, "Welcome to California." Then a cobra shaped thing comes out and wastes the shit out of them with a death ray.
So, I think we are in the smoking bowling ball stage. Something has landed and we don’t know what it is. The best we can do is scratch our head and poke it with a stick.
By this I mean, we haven’t come to terms with the digital age, and the impact that this is going to have on publishing. And while it would be easy to say that we are only talking about Kindle, and books in digitized form, it is far, far more ominous than that. Ask an ex-independent book store owner about the impact of online shopping, which seemed pretty innocent in the beginning.
For instance, what about pricing and royalties? For some reason, a Kindle book is being priced at $9.99. Now, for writers there is a big difference between a ten percent royalty on a book of $25 and one at this price. Just as this might mean the end, altogether, of book stores. The economics seem to be driving it that way (after all, you can avoid cutting down a lot of trees, although I guess you still have to make plastic, but only once). So, that’s the simple part.
But it’s not that simple, if a writer’s chance of making a living, already precarious, is reduced even more. The downward pressure on a writer’s livelihood is a serious matter and I think writers are scared.
Where it gets complicated, and where writers and I would imagine publishers feel doubly uncomfortable is that if you don’t need books, that is physical items on a shelf, maybe you don’t need publishers. If the technology is there to make a book suitable for Kindle, and anyone can set up a website to sell it, and if there were some other web based method of letting people know about books (say this very website), where does the publisher fit?
Where, by the way, does an editor fit?
Is this the way it’s going to go?
And beyond that, will it be like the newspaper business, where more and more they are giving away content. Will writers have to do that, too, that is give away large pieces of a book to try to get people to read the last half. And if that is the case, what impact will that have on the way books are written?
Please understand: I am not saying I think this is the way things are going to go, but that this is the way one thinks when poking at that smoking bowling ball and seeing that sleek, metallic cobra head come out with that little hot spot there in front that begins to glow a little more intensely….
That’s one thing.
Another is seemingly more mundane, but in fact, more realistic. That is, what is happening to the American novel or novels altogether.
Read the rest of the post on Three Guys One Book.
This post, from Kirk Biglione, originally appeared on Medialoper on 6/23/09.
The Kindle is popular for a reason.
Amazon has created the most painless ebook experience any consumer could possibly ask for. No other system makes the discovery, purchase, and transfer of ebooks so frictionless. As a result, Kindle has become the standard everyone else in the ebook business will have to match just to compete. So far no one comes close.
But Kindle has a dark side that is starting to emerge with startling regularity.
This past weekend Dan Cohen was surprised to find that he could not re-download some of his Kindle books. After several lengthy exchanges with Amazon customer support Cohen was informed that some (but not all) Kindle books have download limits. Or maybe it’s a limit on the number of devices they can be transferred to. Or it might be both…
To be honest, Amazon’s customer service department isn’t entirely sure of what limits are imposed on DRM protected Kindle books.
This isn’t the first complaint we’ve heard about Amazon’s Kindle policies. Not long ago a Kindle owner found that he’d lost access to his books after Amazon terminated his account. And a dispute with the Authors Guild has led Amazon to allow publishers to disable text to speech capabilities AFTER consumers have purchased books.
Imagine buying a product with one set of capabilities then having that product downgraded after purchase. That scenario would never be tolerated with a physical product and it shouldn’t be considered acceptable simply because the product in question is digital.
In the past I’ve argued that Amazon has an obligation to fully disclose the DRM limitations of every Kindle title so that consumers can make an informed decision before they make a purchase. What the latest incident has revealed is that, in many cases, even Amazon doesn’t know what those limits are. Surprisingly, this seems to be by design.
Jeff Bezos says the Kindle is “DRM agnostic” and that it’s up to publishers to determine whether their books will be locked-down by DRM. While that may sound like an enlightened approach that gives publishers complete control over DRM, it’s a position that creates serious problems for both Amazon and Kindle owners.
By allowing each publisher to set its own DRM policy, Amazon has no idea what restrictions are in place for any given book, and no way of enforcing anything resembling a standardized DRM policy for the Kindle marketplace. The otherwise stellar Kindle user experience suffers as a result of these inconsistencies.
Read the rest of the post, and also the discussion that follows in the comments section, on Medialoper. From the same site and author, also see Digging Deeper Into Amazon’s Orwellian Moment, for analysis of the incident in July of this year when Kindle owners found their purchased digital editions of George Orwell’s 1984 had been remotely removed from their devices.
This is a cross-posting from The Creative Penn.
This is a bit of a rant from the non-US perspective of ebooks and ebook readers and how crazy it seems to be right now.
On Amazon.com
It is a fantastic development to finally have the International Kindle 
The Kindle Store is now segregated by the country associated with your account, which I understand has something to do with overseas rights. However, the Kindle publishing platform is still only available for those publishers/authors with US address, bank account and tax number. This basically excludes most publishers and authors in other countries. I currently publish on the Kindle through a friend, and the money goes into his bank account – not the best arrangement but all I can manage to be published on the platform.
This is a big criticism of the International Kindle, and one I hope is soon solved. Opening up to non-US publishers will explode the Kindle content and offer the chance for more sales for publishers, more opportunity to sell for authors and more money for Amazon. I would be fine with being paid by Paypal or even by Amazon store credit if the problem is the bank account.
I have emailed Amazon Kindle about this, and am awaiting a response. I’ll let you know!
On Scribd.com
Scribd is driving me totally nuts because they only allow US residents to actually sell AND BUY on the site, although anyone can load free content there (which I do here).
Firstly, I love Scribd. It’s a great platform but why can’t I sell my ebooks there? I own all the rights to my 3 books, there is no foreign rights problem. I have a Scribd account, I have a Paypal account. It has been in Beta for months now. What’s the problem Scribd? I’m still waiting for a response to my questions.
This is even stranger. I can’t even BUY ebooks on Scribd, despite the format being a downloadable file. This is not a foreign rights issue as I can’t buy self-published books either. I wanted to get “The God Patent” by Ransom Stephens (only $3.95) but get a message saying the store is still in Beta and therefore I can’t buy as a non-US resident. Crazy times.
On Smashwords.com
Go Smashwords! It seems to be the only site to allow truly international ebooks from any author globally. You can publish your books in multiple formats and be paid by Paypal. There is even a multi-language option coming I believe. Smashwords books are also sold on the iPhone through Stanza, as well as through Barnes & Noble ebook store and now Sony has also partnered with Smashwords.
I have written a post on how to publish your book on Smashwords here. It is pretty simple and they have many tools to help you publish, so if you want to get started with ebook publishing, definitely start there!
Can you publish on all of these platforms?
I had this question from a reader, and the answer is “Yes, if you have the digital rights to your books”. If you are a self-published author, or if you haven’t sold the digital rights, you can publish your book wherever you like. I currently sell my ebooks from this website as PDF, on Smashwords in multiple formats, and on the Kindle. I will get on Scribd as soon as I am able. You can do the same! This gets your ebook to as wide an audience as possible. Brilliant!
Antellus – Science Fantasy Adventure and Nonfiction Books
http://www.antellus.com
Antellus to Launch a Line of Audiobooks
Antellus, an independent publisher and seller of science fantasy adventure and nonfiction books, announces the launch of a line of audiobooks read by the author.
In an effort to reach more readers of its line of fiction and nonfiction books, Antellus announces its intention to produce a line of audiobooks in CD-R and mp3 formats for ordering direct from its online store under the label "Antellus Media". The books will be read by the author, with sound effects added where possible.
"We felt it was time to try and make our books available to those who are sight impaired or who are too busy to sit down and read," author/CEO Theresa M. Moore said. "This marks a bold move which we think will be beneficial to all who like a good story. The opportunity to offer our books in a variety of formats for the reader’s choice is the best way to make our products known in the face of stiff competition like Amazon and Google."
The first audiobook is in progress and may be released by December of 2009, with subsequent releases to be announced as they are finished.
Antellus also offers the books in print, Kindle format, Adobe PDF, RTF, and other formats for iPhone through other providers like Smashwords and Scribd.
Antellus is a privately owned independent publisher of science fantasy adventure and nonfiction books on a variety of related topics like history, mythology and science. Requests for information may be made by email to: info (at) antellus.com. The publisher is located in Sherman Oaks, California.
A good review helps buyers make up their minds about buying a book. I’m convinced of that fact. Years ago before I even thought about publishing my books, I let my friends read my manuscripts. Some of them were kind enough to put a review note in the notebook when they gave it back simply because they liked what I had written. But wisely, I kept all those reviews. After I published, I gave books to people and asked them to give me their reviews.
I found a man online that reviews Civil War books. I emailed him about reading my book "Ella Mayfield’s Pawpaw Militia". He didn’t reply. Perhaps, that was because, my book is fiction based on fact. The reviewer only reads nonfiction books. One woman said she reviewed mysteries. I emailed her to ask if she would read "Neighbor Watchers". She said she was very busy at the moment, but if I wanted to send the book she would get to it when she had time. No promises when. That was a year ago. She must be really, really busy. I’ve never heard from her.
My books are sold on Amazon. The buyers don’t bother to review my books after they read them. Now I could take that as a negative thing and be glad they don’t want to give my book a bad review, or I can think they just don’t want to bother. I go with the latter. Amazon won’t let me put the reviews people have given me in the review post, because I am the author and seller of the books. What I did was start a discussion in the community connected to each of my books. I put every review I received in my discussion so that prospective buyers can find them if they scroll down to the bottom of the page. Along with that, I look for every discussion that I might be able to fit one of my books into and describe the book. Amazon mails me new posts in each of those discussion groups. I can tell my entry helps because I sell a book or two right after I have posted.
The same with ebay. I sell two books on ebay – "Christmas Traditions" and "A Promise Is A Promise". Each time I sell a book, I notify the buyers that their signed book is on its way. Along with that I ask that the buyers let me know what they think of the book if they have time. Many have gotten back to me and requested that I continue to write my Amish stories. Therefore since "Christmas Traditions" has been selling on ebay for almost a year, I had plenty of reviews to keep adding to the listing.
"A Promise Is A Promise" is my newest book. I needed reviews. So when I was looking for a websites to advertise on I found a website started by HarperCollins Publishing (Authonomy) for writers to submit their work. Writers trade reads and decided which five should be on the editor’s desk each month on the front page of the website for the publisher’s editors to look at. I put both my Amish books on the site and have been overwhelmed with offers to trade reads. Also, many good suggestions have come my way about how to get up the ladder to the editor’s desk. For awhile, I have made my way through the reading trades, but that takes time. Not many of the manuscripts are to my liking but are popular it seems with others on the site. Perhaps, I would need to be English to appreaciate the stories. Most of the authors are from Great Britain.
All I read is a chapter or two to get the substance of writing and how the story flows then leave a review for the author. In return, I’ve hit the jackpot. I’ve gotten many very detailed, good reviews about my books that I can use. Because these are authors and not just readers, they are great with writing critiques. Much better than I am. Thankful though I am for the reviews I had accumulated, the ones I’ve gotten from readers and friends are, "I love your book. Couldn’t put it down until the end." Those reviews help to bolster my confidence and spur me to continue to write to my latest ones are much more detailed.
Here’s one from authonomy for "Christmas Traditions" (An Amish Love Story) ISBN 0982459513
This is an informative and intelligent piece from a human interest point of view. Your writing is atmospheric and your narrative comes across as natural, believable and very vivid. Margaret is already so likable, but I’m not so sure of Levi. I think any story which helps its characters to emerge out of their self-indulgent ways to greater understanding and a fuller compassionate existence is worth a read.
A Promise Is A Promise" (Nurse Hal Among The Amish) ISBN 0982459505
You’ve done it again! This is a very well written, intricate and richly detailed tapestry of Amish life. Maybe its just my personal preference but I do love stories like this about a way of life based on faith, convictions and honesty. It’s a beautiful story that had my rapt attention all the way through. A compelling read that I found hard to put down once I started.
Some authors have put me on their bookshelf which is a step up to the editor’s desk. Do I expect to get to the editor’s desk? No. That wasn’t my goal when I signed in, but I didn’t tell the other authors that. My goal was to get reviews that would interest my buyers in buying my books.
I’ve had one negative review from authonomy but I took that with a grain of salt. The criticism had to do with some conversational words I used that makes "A Promise Is A Promise" believable as a regional story in southern Iowa. The English critic listed a few of those in a negative light. I thanked the man for his help, because he wasn’t looking at my story from an American viewpoint. If I wanted to I could have taken his story apart in the same way since Brits have a particular way of phrasing that goes with living in England. Also that writer may have been so close to the editor’s desk, he didn’t want to give me a good review. I might creep up the ladder and get to the editor’s desk before him.
I know the reviews help on ebay. Each time I add another one, I sell a book right away.
When I revised "Christmas Traditions" and sent it to a different printer I put one of the best of the reviews in the front of the book. I am very proud of all my good reviews. I always reply with a thank you note and encourage readers to keep them coming.
This post, from literary agent Rachelle Gardner, originally appeared on her Rants & Ramblings On Life as a Literary Agent blog on 10/14/09 and it is reprinted here in its entirety with the permission granted on her blog. In it, she discusses publishing house Thomas Nelson’s decision to open a subsidy publishing arm under one of its pre-existing imprint names, WestBow Press.
As you all know, yesterday Thomas Nelson announced they are launching a new imprint, WestBow Press, which will operate as a subsidy publisher. Lots of people are talking about it and I thought I’d weigh in with a few thoughts.
*Please note, this is preliminary since I’ve only had a few hours to think about it. I’m sure I will have more to say, or my thinking may evolve, so I’ll keep you updated.*
There will probably be some criticisms of Nelson’s move, but looking at the big picture of publishing, I think WestBow Press is a step in the right direction (and by the way, Nelson isn’t the first or only publisher to add a subsidy division). The reality is that technology is making it easier and easier for writers to bypass the traditional pubs and get their own work published. More importantly, technology is increasingly allowing readers to bypass traditional pubs, too. With our Kindles (and other current and future e-readers), we can read anything from just about anyone. This means authors and readers can now connect with each other without the help of a middleman, a big publisher. This is a cataclysmic change in how authors find readers, and how readers find and read books.
Yes, we are at the beginning of this shift, but make no mistake, the trend is going to continue. Publishers need to embrace this shift and try to be a part of it; trying to fight it or stop it will ensure their slow deaths.
This is NOT to say that in the future, we won’t have the traditional publishers. But it’s naive to think the traditional pubs are going to stay as important as they are; they’ll certainly no longer monopolize publishing. In the future, they will be part of the landscape, but not the entire picture. If the traditional publishers want to stay relevant, they need to be taking steps to be a part of that future publishing landscape rather than digging their heels in. Serious competition will eventually come from self-publishing. Only those who embrace that fact are going to stay in the game.
We have only to look at what happened to the music industry to see that this is exactly the kind of step publishers should be taking. The big mistake the music business made was turning a blind eye on the fact that new technology was making it easier for artists to record and distribute their own music. They refused to try and be part of the new landscape and instead tried to fight against it. It was devastating for the industry, which has never recovered. They could have joined in and been part of the innovation and revolution; they could have had a piece of the pie. Instead they lost their shirts.
Having a self-publishing imprint might not be the best response to the changing publishing environment, just like the Kindle might not be the best e-reader. But in order for change to happen, companies have to take small steps out of the box. Like Seth Godin says, whatever is new isn’t immediately going to be better than the old. But give it time to keep evolving, and eventually it will be. The only way to get to something better is to step out and embrace the new. I think Nelson is trying to do this.
The Kindle and all the other e-readers are analogous to MP3s and iPods. With my iPod I can download a song and I don’t have a clue, nor do I care, if the song came from a big music company or not. I can get plenty of garage bands who independently put out their own records… and I love it. On Kindle, it’s the same thing but with books. Whole subcultures will start to grow made of fans of certain self-publishing authors, just like there are tribes of fans of artists and bands that have never been put out by a major label. In the long run, it serves not just the author but the consumer. And that’s why it’s a smart move to enter the self-pub business. If you want to make money, you’ve got to keep your eye on what the consumer wants.
What about distribution?
As a subsidy publisher, not technically a self publisher, WestBow will have "sales reps working to sell to Christian book buyers," according to their website. This means that unlike some forms of self-publishing, there’s some kind of distribution plan in place. Ostensibly the WestBow books could appear on shelves at Family Christian or Barnes & Noble. Pardon me if I let my skepticism show here, but c’mon. The bookstore buyers already say no to so many books publishers pitch. Aren’t they going to look at the subsidy books and say something like, "Are you kidding me?" I think the chances of those books actually having a very effective distribution channel are fairly slim. But of course I could be wrong, it’s happened before.
A note about the name "WestBow Press."
I have concerns about the name they chose for the imprint. As many of you know, back when Thomas Nelson had many imprints, WestBow was one of them. It was the fiction line, and it was very well known by the name WestBow. Many current authors still have books in print under the WestBow name, published as recently as mid-2008. To call a new self-publishing imprint by the same name as a former, well-known and highly respected fiction imprint (with extremely high quality standards) seems unfair to the authors who previously wrote for WestBow.
If you search Amazon for WestBow, you’ll find books by authors like Ted Dekker, Karen Kingsbury, and Colleen Coble. I wonder how these folks will feel about their books being on a shelf next to a self-pubbed title, both books with "WestBow" on the spine. It seems like it might fool unsuspecting consumers into thinking a WestBow book (of the the current self-published variety) is somehow of the same quality as a WestBow book of the past. This really surprises me, because I know the folks at Nelson to be of high integrity and character. I hope Mike Hyatt blogs about this. Even more, I hope Nelson changes the name of the subsidy division.
So how does this affect YOU?
I have a couple of notes for those of you who are right about now thinking self-pubbing with WestBow looks pretty good. In Mike Hyatt’s blog post, he gives a good list of situations in which self-publishing might be right for you. The list wasn’t meant to be exhaustive, of course, so there are a couple things that could be added. Such as:
→ Self publishing is right for you if you have several thousand dollars to invest in publishing your book, with no guarantee of a return. The packages at WestBow run from about a grand to more than six grand; realistically, even if you chose the less expensive package, you’re likely going to need at least $5,000 to $10,000 when you add in the cost of marketing.
→ The other thing that needs to be said is this: If you want people to read your book, then self or subsidy publishing only makes sense if you have a real, solid, honest-to-goodness way to market and sell your book. A large business or organization through which you can move copies; frequent speaking engagements; a high-traffic blog or website; a large church that you pastor. (What’s that? Sounds like a platform??? Say it isn’t so!) Think hard about this.
When is it not a good idea to consider self or subsidy publishing?
In the first place, let it be said that self-pubbing is usually only a viable business plan for non-fiction authors, not novelists. That’s just a general caveat. And by "business plan" I mean, of course, a plan with some potential to recoup the original investment and eventually make a profit.
My biggest caution would be to you authors, particularly fiction authors, who have been trying to get published for less than two or three years, and you’re getting impatient to get your books in print. Especially if you’ve been told your writing is good and getting better. For you, the process of traditional publishing may actually be working for you; i.e. encouraging you to continue improving your books until they become something really good that many people will read.
To self-pub out of impatience may be subverting this process and short-changing yourself of the experience of continuing to grow yourself as a writer. Besides, last I checked, impatience doesn’t bring with it a marketing plan. You may be impatient to publish, but if you do, you may end up with the same old problem: nobody’s reading your books. First, because they’re not good enough, or at least not as good as the competition. Second, because you have no way to sell them.
Okay, that’s all I’ve got for now. Questions? Comments? Bored out of your mind?
Please read the excellent discussion going on in the comments section following this post on Rachelle Gardner’s Rants & Ramblings On Life as a Literary Agent blog, which includes remarks from Thomas Nelson CEO Michael Hyatt. Also see this analysis from a very knowledgeable self-published author, Timothy Fish, and this response from literary agent Sandra Bishop.
This post, from Pat Holt, originally appeared on her Holt Uncensored site on 10/6/09, and is reprinted here in its entirety with her permission. The embedded video clip of Seth Harwood is provided with his permission.
What To Do When the Mainstream Yawns: Part 1
Seth Harwood is the kind of Internet techno-whiz that fuddy-duddy types like me are scared of.
He’s so knowledgeable about podcasting, video-posting, eBook-pricing, iPhone-apping and what is now called (nostalgically by everyone but me) “the Amazon Rush” that I wanted to run the other way.
Then I read his fiction and became a Seth Harwood fan. Then I watched his video and became a Seth Harwood student.
You can see why Seth is in the vanguard of a new writers’ movement by taking a look at the instructive interim video he made some months ago (see it below on my very own blog! and thank you, Seth, for permission).
Here we learn that no matter how many rejections slips you’ve received or how unknown you are as a new writer, you can create that elusive “platform” that mainstream publishers (so cowardly!) insist authors must bring to the table. And you can build an audience that grows into the tens of thousands.
The first step, says Seth, is to make a podcast of your manuscript (before it’s ever published) and give it away. “Think of a podcast as a free, serialized audiobook,” he says.
With a minimum of equipment, a little music and a lotta passion (plus some blankets absorbing echo-chamber sounds in your closet), you can produce a quality narration that equals anything on Audible.com, and again, you do this long before your manuscript comes out in any kind of print version.
Seth did this one chapter at a time with his detective novel, “Jack Wakes Up,” which he followed by two other “Jack” books in the series. He placed each chapter as a freebie podcast on iTunes, thus tapping into an engaged audience that loves to hear edgy stuff and Tweet about it like mad.
What I appreciate most about Seth’s video is his ability to make sophisticated, low-cost technology look easy and his love for the open source movement, that learn-it/do-it/share-it approach to advancing new ideas that benefits everybody on the Internet.
Especially Seth. When you see the numbers that built up during Seth’s do-it-yourself career you’ll see why individual writers today have a lot more power acting as their own independent contractors than as supplicants to a dismissive and sluggish (and arrogant) system. The question we’ll consider in Part II is, how can authors make these numbers work for every title?
Seth’s Story
Seth started out like many unknown writers. He piled up so many rejection slips and unanswered submissions that finally he said to heck with it and decided to go directly to his audience.
A fan of audiobooks, Seth believed what Steve Jobs (reportedly) said – that nobody reads anymore, but a lot of people listen — to books on CDs and iPods in autos, in waiting rooms, on the jogging trail, in bed. Seth figured people would love a good Raymond Chandleresque yarn with a fresh twist, narrated by his very own self and so full of sly humor and eccentric characters that listeners wouldn’t care if they got stuck on the freeway or waiting for the dentist.
So Seth set up his podcast equipment and began narrating a chapter every week, which he offered for free on his own website (http://sethharwood.com) and also listed as a free serialization on iTunes.
He used the introduction and the sign-off of each segment to plug his other fiction (beautifully written short stories, very sweet and tender, but more later on this, too), his discussions on Facebook and Twitter and his offer of free PDFs of each chapter (and later of the entire manuscript).
You may think that’s a lot of giveaways (Random House sure did later), but Seth saw it as great publicity, and boy, was he right. The podcast was downloaded to about 30,000 people and the PDF of the entire book over 80,000 times.
Along the way, Seth was trying to alert literary agents to this kind of high-voltage interest in “Jack Wakes Up,” but basically the mainstream didn’t understand what he was saying. So what if 30,000 wastrels download your novel for free, Seth was told. That’s what everybody says. When somebody actually buys the book, let us know.
The Amazon Rush
Enter Breakneck Books (now part of Variance), a small New Hampshire publisher of action and science fiction novels that published a small POD (print-on-demand) print run of “Jack Wakes Up.” Little did Breakneck know what Seth had up his sleeve.
Since the protagonist of the novel is named Jack Palms, Seth asked his supporters not to buy Breakneck’s edition until Palm Sunday, when he was certain the title would be listed on Amazon. And on that day, he wanted everybody to buy the book only from Amazon, hoping that the impact of a concentrated rush of sales would send the book’s ranking through the roof. Indeed it did: the book started out among the lowest of rankings (in the hundreds of thousands) and, as Seth’s followers feverishly bought the book from Amazon, the ranking soared past that of best-sellers and famous authors, finally tapping out at an astonishing 45 overall in the Books category and number one in Crime and Mystery.
Seth used this historic rise-out-nowhere to interest a literary agent, who submitted the book to mainstream houses (with a this-guy-is-hot proposal), and the next year, “Jack Wakes Up” was published as an original paperback with a sensational cover from Three Rivers Press, an imprint of Random House
So. Great story, right? Seth’s with a mainstream publisher now and all is well, yes?
Oh, dear. See you next time for Part II.
P.S. By now enough authors and small publishers have attempted the Amazon Rush that it’s old hat to the mainstream book industry, so if you’re an unknown author, the word is, don’t bother. In a way, I’m sorry to hear it. If ever there were a means of demonstrating audience interest (and the dreaded notion of “platform loyalty,” ick), that was it. Of course authors are creative enough to find new ways to move books into the mainstream, so I shouldn’t worry. But again, I’m the old fuddy duddy. I hate to see authors turning themselves into self-styled barkers! Here they are, the center of the book industry, having to hoodwink publishers just to get attention! Well, pardon. More in Part II.
Bookmark Holt Uncensored and check back at that site in the coming weeks for part two of this profile. For more information about author Seth Harwood, visit www.sethharwood.com.
This post, from Seth M. Baker, originally appeared on his Happenchance blog on 9/15/09.
Do you ever feel like someone replaced your brain with a cinder block?
Has your river of brainy brilliance turned to a sluice of stumped stupidity?
No matter what kind of work you do, sometimes you run into a wall; the ideas dry up and you feel anything but creative. It happens to everyone. Don’t worry. You’re not alone. You need a break. You need a strategy. You need a saga.
Here’s your saga, delivered in 16 steaming hot points. Use them, abuse them, but do tell me how they work for you.
1. Consistent Effort If you make a consistent effort to create new things, you’re bound to have results. If you just wait around for inspiration to strike, you could be waiting for a long time. Inspiration tends to strike those who are already in the middle of the creative process. A reward, if you will, for your diligent work.
2. Record Everything Keep a notebook, sketchbook, or recording device handy at all times. Ideas are slippery as eels, and if you wait too long, the damn things will swim away. If you have a smashing idea just before you fall asleep, you probably won’t remember it in the morning, and if you’re driving or rolling on the subway, something else will distract your attention.
3. Elaborate on Something If you’ve already made something cool, go back and see if you can’t expand on it. Especially if some time has passed and an idea has had time to incubate, you’ll have new things to add, angles to elaborate on.
4. Switch Gears If you’re doing brain work, do body work, and vice versa. If you’re writing a report, do a puzzle, if you’re building a sculpture of a giant chrome sponge, sing a song.
5. Think Laterally Look for associated ideas, especially while you’re already working on something. As I’m writing this, I’ve had ideas for four six more posts. While I won’t use them all, it’s nice to have them to draw from.
6. Mind Maps Mind maps are effective because they make the most of lateral, horizontal thinking. They give you a chance to put a lot of information down about a topic without worrying about actually organizing the information. This is just my opinion, but mind maps may be a close representation of how thoughts are structured. Here’s the wiki entry.
7. Don’t be Afraid of Bad Ideas When you have a lot of bad ideas, you’re bound to have good ones. Plus, with lots of bad ideas you’ll have less trouble telling the good from the bad.
Read the rest of the post, which features tips #8-16, on Happenchance. Also read the follow-up post, 14 More Ways to Increase Creativity and Generate Clever Ideas, also written by Seth M. Baker, on the same site.
It’s a cliché that so-called overnight successes are many years in the making, but it’s also true. As you plug away at your day job and your manuscripts, year in and out, it’s easy to get discouraged. It’s hard not to feel nothing’s ever going to happen for you. And when you read about some hot new author du jour you’ve never heard of who got a six or seven figure offer, landed a spot on Oprah and got a full-page profile in The New York Times, it can seem impossible to be happy for her. In that moment of—let’s be honest—bitter resentment, it is impossible to imagine your dreams coming true. But if they ever do, it will be due in large part to all the time you spent waiting for it to happen, and how you spent that time.
I queried agents on a novel of mine for the first time about thirteen years ago. I was fortunate to land a great agent in that first round of queries, and I thought my writing career was well on its way. Thought is the operative word there. The novel didn’t sell. I wrote and submitted a second novel, which also didn’t sell. Most frustrating of all, the reasons for the rejections had nothing to do with the quality of my writing, which New York editors said was very strong. It came down to what those editors thought they could or could not sell up the chain. So I back-burnered my writing dreams for a while and got on with life: marriage, kids and jobs. It was just a few years ago that I became an advocate for the indie author movement, and I won’t have a book out from a trade publisher until next year. But looking back on it, I can honestly say all the time I had to wait, and how I spent it, was instrumental to my eventual success.
Marriage and becoming a parent have informed my work in authorship to an extent that can’t be overstated. This isn’t to say I think you’ll be a poor writer unless you get married and have kids, I’m just saying that the experiences I’ve had in those two areas have changed the person I am, caused me to abandon many of my formerly-cherished views, and caused me to look at people and the world differently. Others can get the same benefits from relationships with family and friends, romantic partners, travel, or any sort of life-changing experience.
My day jobs have all had their part to play as well. Working as a technical writer made ‘writing tight’ a reflex for me. Being a software engineer ingrained discipline and attention to detail, both of which are critical skills for any writer. Managing software projects taught me the value of organization, working to a plan, and prioritizing my time and effort. If I hadn’t learned those lessons, there’s no way I could’ve found the time, energy and will to pursue my goals in authorship with everything else I had going on in my life. Working as a web developer and database administrator paid huge dividends when it came to launching and growing my author platform. And continuing to work those day jobs exposed me to all manner of personalities and experiences I could draw upon later, whether in terms of creating a composite character for a story or working with peers and industry people on the business side of things.
What if that first novel had sold? I would’ve been thrilled at the time, but once the initial fanfare died down I think disappointment and failure would’ve settled in pretty quickly. The publisher wouldn’t have lavished a big offer and promotional budget on me, and I wouldn’t have had the money, skills, discipline or maturity to tackle promoting myself and my book on my own. I wouldn’t have had the first idea how to map out a project plan, assemble the necessary talents I lacked (if I even recognized that I lacked them in the first place), or network effectively. My novel most likely would’ve faded from store shelves pretty quickly, and I’d be damaged goods as far as publishers were concerned. Even if the story had been much brighter, if the book had been a surprise hit, I doubt I would’ve sustained a writing career for any length of time. How could I cope with this new, ubiquitous thing called the internet if I’d spent all my time holed up in my comfort zone with a word processor? Given my naiveté, relatively sheltered life to date and ordinary, suburban upbringing, what more could I draw from the well that would inform, entertain or inspire readers enough to keep them buying my books? How could I write about loss, the brow-beating yoke of responsibility, or the push and pull of adult relationships with any authority?
Some of you may already be protesting that there have been plenty of young, breakout writers. But ask yourself this: how many of them have had solid careers that spanned decades, and how many had a hit book or a single hit series, then never struck gold again? There are probably so few exceptions to this that you could count them on one hand, and in every one of those cases the author in question was most likely a true prodigy. For the rest of us, being made to wait till we’ve lived a little longer and experienced a little more of what life has to offer isn’t a bad thing.
Having to work a day job while you’re doing all this living and experiencing isn’t a bad thing, either. If you’re a cashier, bar tender, waitress, salesman or customer service rep, you’re learning how to comfortably interact with strangers and that will serve you well when you’ve got a book to promote. If you’re a worker bee in a tech field, author platform is going to be a walk in the park for you. If your job is the type that isn’t terribly interesting or intellectually demanding, such as assembly line work, driving a bus or working a fast food grill, be glad you have all that mental freedom to ruminate over your ideas and characters for hours a day; just keep a notebook and pen close at hand so you’ll be ready when inspiration strikes. If you’re a teacher or a caregiver of some sort, your daily interactions with the people you serve will enrich your characters and strengthen your dialog in a way no amount of creative writing seminars ever could. No matter what your day job is, it’s keeping you solvent and improving your writing. It, and the wait, are helping to ensure you’ll be ready when opportunity comes knocking.
So don’t hate the wait, and don’t resent your day job. Embrace them, and welcome all they have to offer.
This is a cross-posting of a post that originally appeared on my Indie Author Blog.
For the past several months, I’ve been working on the Publetariat Vault. Among the hundreds of authors who’ve registered for Vault membership, about 5% are completely overwhelmed by the listing form. They refuse to read or follow the instructions on the form, or think 17 required fields are too much to ask, or don’t know how to create a synopsis or excerpt in pdf, rtf or txt format, or don’t know how to upload files to the site using the typical “Browse” + “Upload” button combo. And they’re kind of pissed off that we’re asking them to do all of this in the first place, they’re walking away from up to 5 months’ free listing time on account of tech frustration.
A couple of years ago I would’ve said the 5% are absolutely right, such a form is too demanding and no author should be expected to have that level of tech savvy. But the bar has been raised, and nowadays any author with a strong platform has all the skills necessary to easily complete the Vault form. The rest can no longer afford to be part of the 5%. It’s not fair, and it has nothing to do with quality writing, but it is the reality.
Any author who’s not yet heard the term “author platform” could only have been lost at sea or living in Amish country, but even among those who know it, I’m finding the term is often not fully understood. Many authors, both aspiring and published, indie and mainstream, think succeeding with author platform means having a blog or author website. And maybe they Twitter a little, or have a Facebook or MySpace page. They also often think author platform is something that’s very difficult and/or expensive, and only applicable to published authors.
They are wrong, on all counts.
Author platform encompasses everything you do both to promote your work and to establish yourself as a “brand” in the marketplace, and ideally, it begins long before you have a book to sell. Even if you intend to go the totally mainstream route of writing the best damned manuscript you can and then querying agents and publishers, you can no longer expect to get a pass on author platform. I’m currently working with Writers Digest on the publication of a revised and updated edition of my book, The IndieAuthor Guide, and when our talks began the very first questions they had for me were all about my author platform. What websites do I have, and how much traffic do they get? How many pageviews, how many unique visitors? How frequently do I blog? How frequently do I have public speaking engagements, and where and for whom have I done such engagements? Do I maintain an email newsletter or membership list, and if so, how large is it?
If you’re lucky enough to get a request for the full manuscript from an agent or publisher, are you prepared to answer all these questions? Because if you’re not, you’re not ready to have your full ms requested. And if you’re intending to self-publish, you should be asking these questions of yourself already.
Lucky for all of us, the minimum skills needed to do a pretty decent job with online author platform are few, and easy to master. The way it works is, with each new skill you acquire, new online promotion and publication options are opened to you. And when it comes to author platform, you want every available option at your disposal.
You must know how to use webforms to comment on articles or blog posts online, create and maintain your own blog, create and maintain a fill-in-the-blanks sort of author website, or have a Facebook or MySpace page.
If you also want to provide an online cover image of your book, or an author photo, you must either know how to create digital images (pictures a computer can read because they’re stored as a computer file; if you use a digital camera and know how to get the pictures off your camera and onto your computer, you already know how to create digital images) or have the images supplied by someone who does know how to create them, you must know how to use a graphics editor program to resize the images as needed to meet the file size and dimension requirements of the various sites on which you intend to share them, and you must know how upload files to a web server using a “Browse” + “Upload” button combo.
All the skills mentioned thus far are also needed to self-publish your work in hard copy formats via an online print service provider such as Createspace or Lulu, and to self-publish in various ebook formats via online ebook conversion services such as Smashwords or Scribd.
If you want to make excerpts of your work available for free viewing on your blog or website (which is one of the cheapest and most effective ways of growing readership), on top of everything else you must also know how to create an excerpt of the full work and output that excerpt to pdf format.
Let’s stop and take inventory. If you know how to use webforms, how to create and resize digital images, how to upload files to a web server and how to output your work in pdf format, you’ve got most of your self-publishing and online author platform options covered with just five basic tech skills. You can have a blog and a fill-in-the-blanks type of author website. You can comment on blogs and articles all over the ‘net. You can publish your work in multiple formats and make it available for sale online through various outlets. You can make excerpts of your work available online. You can Facebook, MySpace and LinkedIn to your heart’s content—and you can do all of these things for the cost of nothing more than your time and the price of a single author copy (in cases where you’re self-pubbing in hard copy)! You’d be a fool to turn your back on such an embarrassment of author platform riches, but that’s what the 5% do every day.
Now, if you also want to Twitter, you’ll want to bone up on web abbreviations, emoticons and hashtags. If you want to be able to add cool little widgets (e.g., hit counters, ‘my Goodreads bookshelf’, BookBuzzr, etc.) to your blog, author website, Facebook, MySpace or other online pages, you’ll need to be comfortable copying and pasting snippets of HTML or script code from the widget provider into the desired location, but even then, someone else is providing the code and all you’re doing is copying and pasting it the same as you’d do with any ordinary text. The best part is, most such widgets are available for free! If you don’t know how to use them, you’re missing a huge opportunity to jazz up your platform at no cost.
When you’re ready to graduate to the master class, you can learn about RSS syndication and how to set up a simple web form on your site or blog to allow your readers to subscribe to your email newsletter, but this is nothing you need to think about right away.
For now, just focus on mastering the 5 crucial author platform skills and get yourself out of that doomed 5%.
Addendum: Regarding the Vault form, I’m the first to admit it’s a lengthy form. Authors will need to spend half an hour or so pulling together all the information they need to create a listing, and an additional 5-10 minutes to complete the form. However, the form includes very detailed instructions for every section and field, required fields are limited to those items publishers have said are most important in making acquisitions decisions, and authors participating in the Vault’s current promotions are getting several months’ free listing time. I’m sure those who go on to strike deals with publishers or producers will feel it was well worth filling out the form.
This is a cross-posting of a post that originally appeared on my Indie Author Blog on 10/8/09.
This post, from SACHI Studio, originally appeared on the SACHI Studio site on 4/23/08.
This is the next in a series of guides on how book authors can achieve social media success. The first was a 5-page article on why book authors should use WordPress as part of their web presence.
The following is a 4 page primer on how book authors can use Facebook as a viable social media tool to give more exposure to their book and work.
If you wish to read a print version of this, you can download the 4 page pdf guide here. Otherwise, you can read the entire guide in its entirety below.
Sachi Studio is available for Facebook social media consulting for selected book authors as well.
Update 8/13/09: Our new free eGuide, “Facebook Fan Pages for Book Authors” is out. Click on the badge to learn more.
[Publetariat Editor’s Note: we’ve disabled this link since it leads to a page where you’re asked to complete an online form; as Publetariat has no control over the site or form, we prefer that if you’d like to follow the link, you do so on the source web page.]
A Primer to Social Media Marketing on Facebook for Book Authors
Like many other businesses, book authors are flocking to various social media communities such as Facebook and Myspace. They want to leverage these sites as best as possible to give more exposure to their books. But too many are lost and lack both direction and strategy as to how to best use these communities.
The following is a primer for authors to use Facebook as a viable social media marketing tool.
Before we get into specific methods and activities to use on Facebook, there are five principles that any book author should adhere to in the social media space. It is important you are aware of these fundamentals as they make up the foundation of success in social media.
Now that we’ve listed the basis tenets of successful social media strategies, let’s get into specific activities that authors can use on the Facebook platform.
Read the rest of the post, which includes 8 specific Facebook strategies for authors and book promotion, on the SACHI Studio site.
This post, from Dan Holloway, originally appeared on his The Man Who Painted Agnieszka’s Shoes blog on 10/4/09 and is reprinted here in its entirety with his permission.
OK, not ALL the media necessarily, but I came across this terribly written article yesterday, and it’s representative of most I’ve seen on the issue of the ills of Ebook piracy:
http://www.nytimes.com/2009/10/04/business/04digi.html?_r=2&hpw
Let me outline the gist (but please don’t take it from me – I AM biased, I may have distorted it) of Randall Stross’ article "Will books be Napsterised". As a result of file-sharing the music industry lost vast revenue streams. As Ebooks take an increasing share of the book market, the same will happen there. The problem lies with file-sharing sites like Rapidshare. Sites like RapidShare allow anyone to upload files and then post the URL for others to download them. Whilst they will remove copyright-infinging files on the request of the copyright owner, these files are not policed upon upload. RapidShare talked to Mr Stross, urging publishers and authors to learn from Trent Reznor and Nine Inch Nails and use free downloads as part of their business model. Stross ends with a retort to this suggestion:
"I will forward the suggestion along, as soon as authors can pack arenas full and pirated e-books can serve as concert fliers."
Now, there is so little analysis and so much fabulation in this article I couldn’t deal with it all (apparently e-book hardware is "on the verge of going mainstream", for example, whatever that means—I didn’t see a single reference to the Kindle or the Tablet, and nary a mention of the phone vs reader debate, by the way).
OK, it’s time for my disclaimer. I hate plagiarism. It sucks, and sucks major. In fact, any form of copyright violation sucks. And it’s NOT a victimless crime. But. But, but. But, but BUT. The way to beat pirating is, I’m afraid, as RapidShare’s spokesperson says, to incorporate free downloads into your business plan. That’s not giving in, it’s not kowtowing. It’s the way it is.
The obvious way to do that is, as suggested, to study the successful musicians. I’ve been talking about gigging and merching for authors ever since I got into the blogging business, and I stand by what I’ve always said. Culture is culture. It inspires communal events, it inspires fans to desire souvenirs, to desire contact. These things aren’t unique to music. And as an advocate of the "freemium" model, I’d have to say I think content itself can be charged for in different formats – the special edition, the regular paperback even.
What we need, as authors, is to work – collectively and individually – on ways to adapt to the file-sharing world. I DO have a problem with exploiting fans. I don’t like the idea that some people pay for my stuff and others don’t pay for the same thing – so for me, ebooks have to be either free or not free (or it has to be transparent which is which). I DO think, though, that we need to look for something slightly more exciting than "free".
Part of the thing about file-sharing is the fact that it creates communities – where has the industry’s sense of history gone? Do they not REMEMBER the Warehouse and Rave scene? The buzz of these things is that they’re outside the usual channels – an anonymmous URL on a bulletin board, a phone box on the M25. It’s the same thing. These are communities that exist and get their energy from being on the outside. Bring them inside and they instantly use their energy. So "free" isn’t the only answer – that would be like having your parents sit down to watch Debbie Does Dallas with you on your 18th birthday.
As authors we DO need to use free, but we also need to be clever how we do so (but not, as I say, so clever we pretend our ebokos are for sale to try and make it seem a thrill to pirate them – that just exploits our fans). I’m not 100% sure what all the answers are (but Kevin Kelly’s 1,000 true fans is part of the answer). But THAT’s the interesting debate – not whingeing when we left the sweet shop open that someone took our candy canes. And I never thought I’d say this, but the places we need to be looking are those semi-legal communities that use bulletin boards and chatrooms – the modern equivalent of rave culture – be it the BDSM scene, or the dogging networks, or the secretive supper clubs I saw on the news the other day. Come on, guys – we’re meant to be creatives, aren’t we?!
A further piece of logic that niggles at me. Until now, when I’ve talked about authors following the music model, and "doing a Trent", I’ve been told – as Stross concludes – that the two types of fan are fundamentally different, so it won’t work. If they’re so different, why worry about "Napsterisation" (other than for the rather unprofessional sake of using an emotive word)? Surely if books ARE "Napsterised", that’s just one more piece of evidence for those of us who maintain culture is, fundamentally, culture; and fans are, fundamentally, fans. And if they download stuff, they’ll pay for things they like.
A final point, Mr Stross. You complain that the group the file-sharing sites never mention are authors and publishers. And HERE, I’m afraid, you give yourself away. Stop speaking on my behalf, please. As a writer, I’m more than happy to embrace file-sharing. It’s not the people who file-share my work I lose sleep over. It’s the people who DON’T. The people who will lose out in the new landscape are the publishers. Please stop bundling our fate as writers in with theirs.
Dan Holloway is the author of the interactive Facebook novel The Man Who Painted Agnieszka’s Shoes, and just-released Songs from the Other Side of the Wall; founding member of the Year Zero Writers Collective; organiser of the Free-e-day festival; celebrator of Indie culture – doing his bit to raise the issues the publishing industry doesn’t like to face.