25 Hard Truths About Writing And Publishing

This post, by Chuck Wendig, originally appeared on his terribleminds site on 1/22/13. Note that it contains strong language.

1. This Industry Is Alarmingly Subjective

Despite the promises of certain snake oil salesmen offering to sell you a magical unguent that — once slathered upon your inflamed nethers — will assure that your book gets published, no actual formula for success exists. If it did, a book would go out into the world and either fail utterly or succeed completely. All editors would want to take it to acquisitions. All readers would snap it up from bookshelves both real and digital with the greedy hands of a selfish toddler. But it ain’t like that, slick. One editor may like it. Another will love it. Three more will hate it. The audience will run hot or cold on it for reasons you can neither control nor discern. This is an industry based on the whims of people, and people are notoriously fucking loopy.

2. One Big Collective Shrug

More to the point, just as the industry starts first with opinion, it ends on what is essentially guesswork. It’s not so blind and fumbling that industry insiders gather in a darkened room to examine the cooling entrails of New York City pigeons, but just the same, nobody really knows what’s going to work and what’s not. Their guesses are educated, but I suspect that nobody anticipated that 50 Shades of Grey was going to be as big as it was — that must’ve been like finding out your Fart Noise smartphone app sold a bajillion copies overnight. They don’t have a robot they consult who tells them: BEEP BOOP BEEP THIS YEAR EROTIC FANFICTION IS THE SMART MONEY BZZT ZING. ALWAYS BET ON BONDAGE. BING!

3. They May Like Your Book… And Still Not Buy It

Trust me on this one, you can get a ton of editors who love your book who won’t touch it with a ten foot pole. That’s disconcerting at first, because you think, “Well, you’re an editor, this is your job, you are in theory a tastemaker for the publisher, and here you’re telling me you love the book but wouldn’t buy it with another publisher’s money.” You’d almost rather they just send you a napkin with FUCK NO written on it. But then you realize…

4. It’s All About Cash Money, Muthafuckas!

At the very end of the day, publishing is an industry. That editor gets a paycheck. Everybody there gets a paycheck.When a book does well? Folks get paid, keep their job, maybe even get raises. Books do shittily, people get paid, but no raises, and some poor bastards will be punted out onto the sidewalk. It’s overly cynical to suggest that people in publishing don’t love their jobs. Generally, they do. Most folks I know inside that industry do this because they love books, not because they want to be rich. But despite what some politicians will tell you, companies are not people. And companies like money. Oh, and at the end of the day? Self-publishing is about money, too. Success is marked by books that sell well, not by books that were “really good but nobody read them.” Art must operate within a realm of financial sufficiency.

5. About A Billion Books Are Released Every Week

As I write this sentence, 50,000 more books will be released into the world like a herd of stampeding cats. By now, I think the books are actually writing other books in some self-replicating biblio-orgy of books begetting books begetting books. All in a big-ass mash-up of ideas and genres and marketing categories (MIDDLE GRADE SELF-HELP SCI-FI COOKBOOKS will be all the rage in 2014). Between the publishing industry and self-publishing, I think more books are born into the world than actual people (and just wait till one day the books become sentient — man, forget SkyNet, I wanna know what kind of Terminators Amazon is probably already building). Your book is sapling in a very big, very dense forest.

 

Read the rest of the post, which contains 20 more items, on Chuck Wendig’s terribleminds.

 

Indie eBook Marketing: When You Get to the Fork in the Road, You Must Take It.

This post, by James Moushon, originally appeared on The Self-Publishing Review.

So you just created your first book and you’re done with the editing. You have someone lined up to help you with the formatting and to help you upload the ebook to the online retailers.

You’re an indie author and you’re going to self-publish. The ebook will be available for anyone in the world to buy. Look out Patterson and Hocking. Your Romance novel is in a hot genre. It won’t be long until you’re helping find someone to play your lead character in Hollywood. It’s the author’s dream.

One of the first things you realize is that you’re not alone. There are hundreds of authors in your same position with that ‘must read love story’ and they are all fighting for the reader’s attention.

The next thing you realize, you didn’t start marketing soon enough and there is no one to hold your hand while you do it. You will find out quickly that trying to sell your novel is a full time job.

Marketing

The first big decision: Do you go the social media route or do you hit the pavement?

Do you try to build a large social network or do you rely on the online retailers, word of mouth and a website to do the selling for you.

There are a lot of questions and the answers aren’t easy to come by.

The Paper Route

If you are from the old school and you’re trying to adjust to online marketing, going Indie presents some problems. Your sales will rely directly on your marketing approach and you find out quickly it is going to be a long journey.

There are a dwindling number of book stores and there are no publishers helping you will drive. The covers and the blurbs are up to you or someone you engage to write them.

Your book may get great reviews but your challenge is to get someone to read them and then buy your book.

There is no shelf space limit to worry about. In fact, the problem is just the opposite. The shelf space is limitless and so is the number of authors, all trying to find a way to attract readers to their book.

The Need for Speed – Online Marketing

You are how competing in the online world and the Internet Super Highway speeds up the whole process. Readers can buy your book 24/7, if they can find it.

This approach is what I call the Conventional Online Method. You self-publish your book and post it at an online retailer’s site. In turn, they provide the reader/prospective buyer with information, so they can make a buying decision. That may include reviews, star-ratings, book descriptions, your author profile and a bestseller tag, if you’re lucky.

This is, in itself, a passive approach to marketing. You need to use more of the Internet to make your presence felt and to sell your books. There are many things you can do at this point to draw attention to yourself, as an author.

You can create an author’s blogs and have an Internet site with contact information. You can conduct giveaways and promotions or participate in book tours. You can provide your readers with free content and samples of your work.

There are a lot of things you can do online to promote your book.

The web is a vast arena for the Indie author. If you look hard enough you will find book trailers (live movie trailers), videos, pictures and other promotional material marketing books.

So you are all set up. Now how do you get readers to look at your book and buy it?

Now the Fork – Enter Social Media

 

Read the rest of the post on The Self-Publishing Review.

What’s the Difference Between Book Wholesalers and Distributors?

Book distributors are companies that promote and sell books to retailers and libraries, typically through sales reps and/or printed catalogs. Distributors usually purchase books at a steep discount (65% to 70%), warehouse the books, and ship them to book wholesalers, libraries, bookstores and other retailers.

Distributors handle books that are published independently (not through a “self-publishing company”) and have strong sales potential. Members of the Independent Book Publishers Association (IBPA) are eligible for special deals with Partners Publishers Group and Small Press United.

Quality Books and Unique Books are specialty distributors that sell nonfiction books (and some children’s titles) to libraries on consignment.

Book wholesalers process orders and ship books. Being listed with a major wholesaler will make it easy for bookstores (including Amazon) and libraries to buy your books, but you are responsible for generating demand. Ingram and Baker & Taylor are the largest and most important book wholesalers in the U.S. They typically buy books at a 55% discount and they offer paid advertising opportunities to publishers.

If you publish through a subsidy publisher or “self-publishing company” your publisher will probably get your books listed with Ingram and/or Baker & Taylor.
If you publish through CreateSpace, sign up for the “expanded distribution” program to get your book listed with Ingram and/or Baker & Taylor. (You have to use a CreateSpace ISBN to get into Baker & Taylor). Details are here. You can learn how much money you will earn through various sales channels here.

Another way to get your book listed in the Ingram database is to print it through Lightning Source, which is the largest print-on-demand printer in the U.S. and is owned by Ingram. See this article for details about using Lightning Source and determining your wholesale discount.

If you published independently and don’t have a way to get listed with a wholesaler, you can pay to get into Ingram and Baker & Taylor through the programs offered by IBPA, but you’ll need to determine if the fees are worth the potential benefit.

 

This is a reprint from Dana Lynn Smith‘s The Savvy Book Marketer.

Why George Saunders (Or Anyone Else) Can Write Whatever They Damn Well Please

This post, by Kevin McFarland, originally appeared on The AV Club on 1/25/13.

The backlash had to begin sometime. George Saunders’ fourth short-story collection, Tenth Of December, landed on the New York Times Bestseller list in its first week after garnering significant praise, and even a lengthy, glowing New York Times Magazine profile. Saunders is unusual among anointed writers because his major works are all story collections. He’s never published a novel. Which opened up the doors for Adrian Chen at Gawker to waltz in and kick him with the assertion “George Saunders Needs To Write A Goddamn Novel Already,” a demand heady with ignorance about Saunders’ career and what makes him notable in the first place.

The premise of the Gawker piece is that any writer should want to write a novel. But plenty of great living writers (or “literate humans,” as Chen’s opening sentence calls them) haven’t. Sopranos creator David Chase doesn’t write novels. Neither does Mad Men creator Matthew Weiner, or Friday Night Lights and Parenthood showrunner Jason Katims, or Hugo screenwriter John Logan, or Zero Dark Thirty writer Mark Boal. Aaron Sorkin, Community and Modern Family writer Megan Ganz, Angels In America playwright Tony Kushner, and God Of Carnage playwright Yasmina Reza have never written novels either. It doesn’t make sense that only a writer focused on short stories must wantto write a novel, or end up stuck in the minor leagues.

This isn’t so hard to believe. “The novel” is no longer the sole measuring stick of a writer’s quality in our time—not when books compete with film and television writers. Chen severely over-romanticizes the importance of a novel in the writer’s landscape today. For a specific subset of fiction writers, it’s the most important form, but by no means the only way to tell a story, or to prove they can produce.

The Pulitzer Prize is the highest award for an American fiction author. The category recognizes all works of fiction, not just novels. Jennifer Egan’s A Visit From The Goon Squad, Elizabeth Strout’s Olive Kitteridge, and Jhumpa Lahiri’s Interpreter Of Maladies have all been awarded the Pulitzer since 2000. All three are short-story collections. (Arguably, the first two are linked story collections, novels-in-stories, or story cycles, like Sherwood Anderson’s Winesburg, Ohio, but Lahiri’s book is without a doubt a traditional short-story collection.) And that’s just counting the winners, rather than the anthologies that have been nominated.

 

Read the rest of the post on The AV Club.

8 Ways to Get Reviews That Aren't Fake

This post, by , originally appeared on The Huffington Post Books blog.

We’ve always had a problem with “fake.” Whether it was a fake Kate Spade handbag or a knock-off clothing line, fake has always been a part of our culture. Most of this is made popular by the “don’t you want to have it, too?” mindset that often surrounds celebrities: “Get the dress Jennifer Aniston wore for only $200!” Most of us, however, can spot fake. Or, to help avoid litigation, many reputable companies offer knock-offs of celebrity Oscar gowns and what-not. Fake, however, is not limited to fashion anymore.

Now, fake and counterfeit has begun permeating the publishing industry. We’ve seen things like 35 Shades of Grey and other knock-off titles that seem to circumvent any legal challenges, but there’s a new challenge on the frontier, that of fake reviews. Do you believe reviews? A majority of us don’t, but more often than not we believed the consumer reviews. Not so much anymore, especially now when reviews can be bought, or in some cases, simply faked. The message seems to be: if you want to get noticed, you’d better be prepared to “fake it till you make it.” That’s a nice saying, in theory, but when you’re talking about polluting an Amazon page with a bunch of dummy reviews, that’s another story.

So, what’s an author to do? I’m sure as time wears on it will be tempting to buy into this but what happens when we do? We end up with a cluttered market packed with “I loved this!” and we’re left to wonder, did the person really love it and, even worse, did they even read it? We all want to be liked, or, rather, we want our work to be liked, but to what end?

Several years ago we were on a team retreat. At that time a savvy team member came to me and said, “We can’t put our stock in reviews, these folks are inundated with books to look over, we need to find other channels.” And so we did. Where we used to do review-centric programs (meaning that the success or failure of a marketing campaign depended on the number of reviews we got), we now offer campaigns that are balanced, and yes, we like to get reviews for our customers, but that’s not always the best way to grow your market. Here is perhaps a different set of ideas (and maybe a few you’ve heard before) about getting exposure and (if you’re lucky) getting reviews:

  1. Stay engaged: I see a lot of folks who aren’t engaged in the process or their reader. I’m not talking about running through your to-do list of marketing activities. I’m talking about staying engaged with your reader. Talking to them via your blog, Facebook, Twitter, Pinterest, LinkedIn, whatever. Your reader is your end user, you want reviews to get to them, but in the absence of reviews, guess what? Your outreach to your reader will have a far greater impact on your market and your sales.

 

Read the rest of the post, which includes 7 more tips for getting genuine reviews, on The Huffington Post Books blog.

Are You An Author, Publisher And Entrepreneur? You Should Be. Interview With Guy Kawasaki

I’m excited to share with you today an interview with Guy Kawasaki, who is a NY Times bestselling author and entrepreneur, and who I have followed online for a number of years.

His most recent book is APE: Author, Publisher, Entrepreneur: How To Publish A Book.

guy kawasaki
You might think that there are already way too many books on this topic, but APE has a slightly different angle around ‘artisanal’ publishing and entrepreneurship, which I like a lot. It’s also significant that an author of Guy’s authority in the business book market is advocating self-publishing.

APE includes some good chapters on avoiding the self-published look and guerilla marketing, as well as building an enchanting personal brand. Here’s the interview with Guy along with some of my comments at the end.

You have had great success in the traditional publishing world with 10 books, including the NY Times bestseller ‘Enchantment’. Why did you decide to self-publish?

APE: Author publisher entrepreneur how to publish a book
I decided to self-publish because I wanted total control over the marketing and selling of my books—particularly in the ebook format. Traditional publishers cannot handle sales directly to customers, sponsorships, and site licenses. These kinds of deals that are not publisher to reseller to customer give traditional publishers aneurisms.

Have you stepped away from traditional publishing for good?

I haven’t stepped away from traditional publishing. All it would take is a huge advance—huge enough so that I don’t care about the marketing and selling of my books. You can’t buy me, but you can rent me.

Would you combine traditional with indie in a hybrid model which many authors are now favoring but NY publishing is resistant to?

what the plus
If a traditional publisher wanted to buy the printed rights and leave me with the ebook rights, I would do it. I actually have such a deal with McGraw-Hill for a book called What the Plus!

I love the term “artisanal” publishing. Can you explain what you mean by it?

My concept is that writers can control their craft from end to end. That is, they can control the content, cover, interior design, sales, and marketing just like an artisanal brewer, baker, or winemaker does.

How does this reframe the “stigma” of self-publishing?

It means that “self-publishing” or “vanity-publishing” does not translate to “My book wasn’t good enough for a traditional publisher, so I had to publish it myself.” One would never attach a stigma to an artisanal brewer, baker, or winemaker, so why should one attach a stigma to an artisanal publisher?

guy kawasaki quote

Many indie authors, myself included, use an ebook only model because financially, it is less of an outlay for a quality product. Print can be expensive to produce something that doesn’t look self-published.

But you present some compelling arguments that digital isn’t everything, so should we all be doing print?

This depends on the genre. The genre where ebooks are kicking butt is adult fiction. If I had an adult non-fiction book, I would publish it in printed and electronic format. If I had a photography book, I would publish it only in printed format. In ten years, I would print only a photography book.

Many authors/writers resist the term “entrepreneur.” Why do you think authors need to claim that term in order to be successful in this crowded market?

“Entrepreneur” sure beats “impoverished.” The reality is that artisanal publishing means there are more books than ever to choose from. Thus, it’s even harder to garner attention and therefore sales. Entrepreneurship—making a hobby into a business—is necessary to succeed. Returning once more to the artisanal brewer, baker, and winemaker, who would not consider what they do entrepreneurial?

barry eisler quote

Why is an author brand important?

An author brand is the foundation of entrepreneurship. It means that the author stands for something and owns, or at least represents, a genre. Gillian Flynn’s brand is crime novels. JK Rowling—no explanation needed. John Grisham is legal thriller. Anne Lamott owns the writer’s writer and messy faith brands.

Where do people start in order to build one?

We are in the best time ever to build a brand because of the ubiquity of social media. Google+, Twitter, Facebook, and LinkedIn are all fast, free, and ubiquitous. I don’t mean only for non-fiction, technical authors to build a brand—any author can use social media to build a brand.

The goal is to build a following because you share valuable posts that are simpatico with your brand.

My recommendation is to start building a brand the same day you start writing a book. In a perfect world, you’d write two-three hours a day and work on your brand an hour a day. It takes at least a year to build a brand using social media.

guy kawasaki quote
Incidentally, even if you are published by a traditional publisher that purports to have a marketing platform, I would still beg you to create your own brand.

There is no downside to creating your own brand so that you are not dependent upon your publisher because someday your publisher might not be there for you.

The ebook and publishing revolution has been US-centric for a few years now, but with Kobo moving aggressively into global markets that Amazon doesn’t dominate yet, what do you see as the future of ebooks in the wider global market?

The future of ebooks is bright around the globe. It would shock me if it’s not the dominant way to read books in the next ten years everywhere in the world. Some very smart people at Amazon, Apple, Google, and Samsung are doing their best to make this true. It’s hard to imagine that they won’t succeed.

How did you manage to get 145 reviews on Amazon in six days of which 135 are five stars?

I am tempted to tell you that you have to read APE to find out but that would be chicken. Essentially, I crowdsourced editing, and I offered a review copy of the near-final manuscript to four million social-media followers. This enabled me to have 1,100 people who read APE before it went live on Amazon.

Approximately four hours before Amazon turned it on, I sent an email to 1,100 people to ask them to post a review for me. I woke up in the morning, and there were forty-four five-star reviews. What does it take to make this happen?

First and foremost, it takes a book that people like. I could have asked 1,100 people to post a review and woke up to forty-four one-star reviews too. But beyond this, you need to trust people. I’m sure I passed around my manuscript and so I might have lost some sales, but the alternative, fostered by not trusting people, would be a lack of reviews.

By the way, no traditional publisher would let its author do something like this.

Like I said, I want to control the sales and marketing of my books. That’s what artisanal publishers do.

APE: Author publisher entrepreneur how to publish a bookYou can find APE on Amazon.com here or check out the website at APETheBook.com

Some of my own thoughts on the book

When Seth Godin left traditional publishing I thought the balance was tipping, but now I really think self-publishing has hit the mainstream. When authors of Guy’s stature do it their own way, that is something worth paying attention to. It means the consciousness has shifted amongst the thought leaders, and that can only be a good thing.

APE is a good primer for the new self-publisher. It does contain a lot of the basic information you need, from writing and editing, through publishing in print and ebook formats to marketing ideas. If you want a book that contains an end-to-end process, it’s definitely worth the buy.

Guy advocates using MS Word for writing, but I absolutely recommend you use Scrivener. It will help you write the book but also outputs the formats you need to self-publish directly to Amazon, Kobo etc. It’s been a life-changer for me and means you don’t have to rely on anyone else for your formatting.

The book is US centric, so when you read it, remember that non-US citizens cannot publish direct on Nook PubIt, or use ACX (Audible’s audiobook marketplace) at the moment. Hopefully that will change!

What do you think about artisanal publishing? I love the term and what it implies, but please do let me know your thoughts in the comments [on the original post]. Or please do leave any questions for Guy as well [on the original post]. [Now go APE!]

 

This is a reprint from Joanna Penn‘s The Creative Penn.

Forward

This post, by Steven Ramirez, originally appeared on his Glass Highway site and is reprinted here in its entirety with his permission.

No, this isn’t about last year’s campaign slogan which by the way was a huge #FAIL for me since the geniuses who dreamed it up thought it would be better to be grammatically correct and add the period. Forward, then stop? Hey, here we go! Wait, there’s a period. Aww… Anyway. This is about actually moving forward in 2013 as an author. That means assessing the past year, figuring out what worked and what didn’t, and setting new achievable goals.

Looking Back In 2012 I had seventeen titles on Amazon and sixteen on Barnes & Noble. Now I have nine and eight respectively. Wait a minute, what? Yes, you read that right—I have fewer titles now. Why? Because on reflection I didn’t feel that everything I put out there was my best work. Kind of hard to admit, I know. Especially when I really enjoyed writing those other stories and couldn’t wait to share them with the world. Anyone else out there done that? Please leave a comment.

At the beginning of last year I had few than five hundred Twitter followers. Now I have more than two thousand, so yay me. I must be doing something right. To be clear, Twitter is a work-in-progress. The key for me is to give more than I take. That means consistently providing useful information while occasionally promoting my own work.

Last July I launched this blog. Though I don’t have tons of subscribers and my bounce rate is high, I still feel it is worthwhile—especially since I share it with guest bloggers, which I love doing. In fact, I hope to do more of that this year. If you are an author—or screenwriter—and you would like to share something, please leave a comment.

By mid-last year I had completed the first draft of my new zombie novel. Now I’m in revisions, and am targeting publication in the summer.

Highs and Lows Overall I would say that I achieved my goals in terms of building my platform. I’m no social media superstar but I do interact with quite a few folks around the world via Twitter, Facebook and LinkedIn. The encouragement has been amazing. It’s one of the things that keep me going.

Earlier I said I finished a first draft of my new novel. That’s actually not true. Currently I have no actual ending, though there are definite ideas knocking around in my head. So, while not a low, I would have liked to say I finished the whole thing once through.

2012 Goals that Still Matter I know you’ve all heard this before but creating unrealistic goals is a big, fat waste of time. Here are things I believe I can do. But first here are some things I laid out last July when I launched the blog.

Write better. Okay, this is a never-ending process. I’m confident that Stephen King still strives to write better each day. I do believe that I am a better writer now than when I began. By this time next year, I hope to say that again.

Master the publishing process. It was stupid of me to say this, although to be fair I did not put a time limit on it. First of all, I have yet to publish a novel. Most of my titles are short stories and one is a short middle grade novel. Publishing a real novel is another thing entirely. I’ll get back to you on this one.

Master digital marketing. Again, no time limit. Am I better than I was a year ago? Absolutely. But there is so much more to learn—especially around gathering and interpreting metrics. What I really need is a data person. Good luck to me. Have you seen what social media consultants charge to crunch the numbers?

Help others whenever I can. This one is easy because it’s what I love to do. I may not be the world’s greatest author/publisher/marketer but I am always happy to help those who are just starting out. In fact, that’s one of the value propositions for this blog. Ask me anything in the comments, and I will do my best to get you a solid answer. Really.

2013 Goals Publish my novel as an eBook in 2013. I really wanted to say Summer but, again, let’s make this realistic and achievable. There are many steps associated with publishing a novel—it’s a big job. First, I must “assemble my team.” Then I need to create a marketing campaign and begin marketing the book six months prior to publication. I haven’t decided whether to also publish a print version. I may delay that. I would love to hear the pros and cons of doing this in the comments.

Grow my author platform. This is an ongoing activity. It involves attracting more follows in social media and popping up as a commenter and guest blogger wherever I can. As far as Twitter is concerned, I’d like to double the number of followers. Hey, maybe that’s one of those unrealistic goals.

For those of you who are on a similar journey, what do you think? What’s missing from this list? In the meantime, here’s to an unbelievably awesome 2013. Forward!

 

New Scams Preying On Writers Who Are Struggling Financially

Maybe “scam” is too strong a word, but I’m not sure what else to call it.

I’m seeing more and more marketing materials specifically targeted to indie and mainstream authors who are struggling to earn a fulltime living as writers, or finding it impossible to make the transition from day job to fulltime author. Whenever a demographic that contains many disappointed, disillusioned and possibly desperate or gullible people is formed, the vultures are quick to start circling.

Today I received yet another solicitation from a company offering to solve all my financial and work-life balance problems by helping me realize the dream of not only being a fulltime writer, but being paid handsomely for it.

The email sympathetically acknowledged how many writers have tried to get a mainstream publishing contract and failed, or self-published and seen disappointing profits. The email went on to reassure the reader that the dream of making a living as a writer is well within reach for anyone who wants it, and in fact the simple key to success is a little-known career niche that many writers simply don’t know exists.

The email claimed success in this niche is easy; so long as you know about this type of work, love writing, and are able to write well, you can exceed your wildest dreams of success as a professional writer. According to the email, many writers who have discovered this little-known niche are earning six-figure incomes while only spending 20 hours a week or so writing.

Hmm…Sounds ‘Legit So Far…

Loaded language like “little-known”, “secret”, “six figure income” and the like tends to make my internal red flags pop up, especially when it comes wedged into what’s obviously a sales pitch of some sort. Mental alarm bells start going off for me when the pitch purposely avoids ever explicitly stating what’s being offered for sale.

All that was missing from the email was the assurance that with “this one weird tip” my career would take off instantly, or that a “[insert your hometown name here] mom” had been the one to make this discovery, which career experts didn’t want me to know about, and which would soon be solving all my career problems, whitening my teeth and making me lose pounds and inches.

It was looking pretty darned scammy and pyramid-scheme-y, but hey, this email was delivered to me by a reputable, national writers’ organization, with an intro stating that organization was excited to share this amazing opportunity with me, so it couldn’t possibly be a scam, right? Whatever this offer turned out to be, it must’ve been fully vetted, and I should give it the benefit of the doubt, right?

And The Secret Is—Wait For It, Wait For It

I read all the way to the bottom, hoping ‘the secret’ would finally be revealed at the end, but instead was presented with a ‘let me show you how’ link. That link took me to another lengthy statement on a web page attesting to the awesomeness and profitability of this amazing writer opportunity, and included testimonials from other writers who’d taken advantage of the offer and had relocated to Easy Street shortly thereafter, with their full names, photos and everything.

Yet nowhere did this second, even longer sales pitch state what was being marketed to me, or how much it would cost.

It wasn’t until I followed yet another link, at the bottom of that lengthy page of marketingspeak B.S., that I got to a page that actually showed what was being sold and what it would cost: a series of e-publications on topics about how to find copywriter jobs, how to succeed as a freelance copywriter, how to generate copywriting leads, how to break into travel writing, et cetera et cetera, and even though they were valued at over $200, for a “limited time” I could have them ALL for a mere $49.

$50 Is A Big Chunk Of Change, But Does That Alone Make It A Scam?

No. I’m fairly certain all of the “secrets” in these e-pubs are already available for free in multiple locations online, but I can see where gathering them all together and offering them for sale in a single package—otherwise known as a “book”—adds enough value to justify charging for the material. But here’s why I still classify this as a scam:

1. The seller repeatedly emphasizes how EASY it is to “immediately” start earning large fees; she conveniently leaves out the part where essentially, she’s just advising you to start your own freelancing business, and she also conveniently leaves out the part about how HARD it is to launch a new freelance business.

Plenty of people, myself included, have sold books or training programs intended to provide writers with necessary business or craft skills, but the ones who are being honest will tell you the ugly truth right up front: it’s hard work, it’s a longterm investment that will not “immediately” start paying off, and no book or training program can guarantee career success. Many people can and do make a respectable or even comfortable living as freelancers, but it took a lot of time, effort and sacrifice to get there.

2. The key to success here is NOT any of the e-pubs she’s offering to sell you, it’s having a very strong entrepreneurial drive and a lot of business savvy. If you already have those things you don’t need anything she’s selling to launch a freelance business, and if you don’t, no amount of advice or e-pubs from her or anyone else will make your business a success.

This person is not selling a course in how to run a small business, covering your tax and regulatory bases, basic accounting and so on, but she’s marketing her copywriting information as if it IS a one-stop, magic portal that can take you from being unemployed, or unhappily employed in an unfulfilling day job, directly to a glamorous new life where you’re making tons of money, setting your own hours, and basically living the dream as a professional writer.

3. The sales copy repeatedly emphasizes how one need only spend 20 hours or so a week writing to earn a fulltime income—yet never mentions the many MORE hours freelancers must spend chasing after leads, networking/using social media to promote, preparing bids, trying to collect on jobs already completed and seeing to all the same small business administration tasks as any other small business owner.

In addition, the sales copy fails to mention the fact that freelancers must also get and maintain a professional-quality website, and be prepared to invest time and possibly money in advertising themselves and their “products”. If all of this stuff sounds familar, that’s because it’s all the same stuff authors are supposed to do to sell their books.

The copywriter career path is being sold as an easy, painless alternative to the disappointment and long hours of trying to make it as an author, yet the very same things that can make trying to earn a fulltime living as an author disappointing and exhausting are required of a fulltime, freelance copywriter.

4. While this may not technically fit the criteria to be classified as a pyramid scheme, in one sense, it is: the seller is making her money by getting you to buy her e-pubs and subscribe to her magazine. She must be working as a hugely successful copywriter too—if she weren’t, how could she be in position to advise you, after all—, but it’s a safe bet that a large piece of her income pie chart comes from this particular revenue stream.

The fact that she’s trying to make money by selling something isn’t the problem; it’s that she’s trying to make money by using deceptive advertising techniques that are very much in line with the techniques used to suck people into multi-level marketing scams.

5. The whole thing is being sold to a demographic that was targeted specifically on account of its members’ financial problems. If you want to be cynical, you could say the message of the whole thing boils down to, “Money problems? Give me fifty bucks and I’ll tell you a secret that’ll make you rich overnight!”

It would be more responsible to target people who are already making some headway as freelancers, but need some additional guidance and advice from more experienced and successful freelancers who’ve gone before them. That’s a group of people who already know what’s involved and have already made some level of commitment to a career in freelancing, not a bunch of struggling authors who still hang on to the hope that there’s some magic bullet that can make all this promotion / author platform / day job stuff go away and escort them directly into the ranks of wealthy, fulltime writers.

BOTTOM LINE: How Good Can Your Product Or Service Be If You Have To Trick People Into Buying It?

I don’t begrudge anyone wanting to earn some money in exchange for sharing the knowledge they have to offer. This woman’s e-pubs and magazine may be filled with all kinds of great information that can absolutely help anyone who’s already trying to make a go of a career in freelance copywriting and already appreciates all the challenges he or she is up against.

What bugs me is the bait-and-switch marketing approach. Why not just open with a statement like this:

“We all know it’s the rare author who earns enough from book royalties to live on, but that’s not the only way to make a living as a professional writer. You’d love to quit your ‘day job’ for something that makes better use of your writing skills, but you still have to pay the bills. Have you considered a career as a freelance copywriter?”

I’ll tell you why not: because putting it right out there in the open, right up front, makes it impossible to bend the truth and offer exaggerated claims. The statement above would let the reader know this supposedly “little known career niche” is actually just the same old freelancing that’s been around since the dawn of civilization. Most people know that freelancers who are earning a comfortable living at it only do so by working very hard, that it took a long time for them to start earning a fulltime living at it, and that they’re no less rare than authors who make a comfortable living on their book royalties alone. But the truth won’t sell many $49 “career packages”.

The above statement also makes it possible for the reader who actually IS interested in pursuing a career in freelancing to simply start Googling for all the same “tips” and “secrets” this woman is trying to sell.

Yes, making a fulltime living as an author or writer is a rare and difficult thing. But there is no “secret”, no magic bullet, and no “little known career niche” that will make it any less rare or difficult. Barring a winning lottery ticket or generous inheritance, we all have to work for a living, and the harder we work, the more we stand to gain. As Westley the Farm Boy (and sometime Dread Pirate Roberts) so eloquently put it in The Princess Bride:

Anyone who says otherwise is selling something.

Don’t buy it.

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

Are You Alienating Facebook Friends with Your Political Posts?

This post, by , originally appeared on the Fox 4 News site on 10/11/12, during the lead-up to the election. As political issues such as gun control and the economy continue to dominate the national consciousness, it’s still a very timely piece and one that authors concerned about platform-building should find particularly interesting.

KANSAS CITY, Mo. — (CNN) Steve Reeder says it’s no secret among his Facebook friends: He’s a Republican.

But after he began posting news articles and political cartoons on his page that reflect his support for GOP presidential nominee Mitt Romney, his friend count began falling off. Today, it’s down by several dozen.

“One day, they are there. The next day, they just disappear,” said Reeder, 53, of Roswell, Georgia. “Most (people) don’t say anything to me about it. So I just say ‘good riddance.’”

It’s a story that’s been playing out on Facebook and Twitter with growing frequency among friends, family members, colleagues and acquaintances as an already contentious presidential campaign between Romney and President Barack Obama enters its final, frenzied weeks. Your close friends may share your political views, but that eccentric uncle, former co-worker or high school classmate may not.

Nearly one-fifth of people admit to blocking, unfriending or hiding someone on social media over political postings, according to a recent survey by the Pew Research Center’s Internet & American Life Project. The biggest gripes: The offending person posted too often about politics, disagreed with others’ updates, or bothered mutual friends with partisan political postings.

“In the real world, we navigate these issues all the time. We know not to bring up politics around certain friends or family members. We try to avoid people who are constantly looking for an argument or trying to sell us on their pet ideas,” said Aaron Smith, a Pew research associate.

“Since blocking, unfriending, hiding people is the closest social analogue to those real-world examples, it’s not necessarily surprising to see people taking these steps in the virtual space.”

Muting the rhetoric

It’s the hateful tone of the political conversation that is particularly disturbing to Luis Stevens, who has temporarily muted the Twitter voices of roughly 150 people and blocked more than 400 others until after the November 6 election.

More than one person has threatened to show up on Stevens’ doorstep after he disagreed with them on Twitter. A few more have called him names. And at least one stepped across a political “red line,” endorsing a pundit that Stevens finds offensive.

“This is a pretty mercurial campaign on both sides. People on both sides tend to get heated pretty fast,” said Stevens, 37, of Ruidoso, New Mexico. As a result, he said, “there are way too many people on Twitter who are a little scary.”

Stevens tweets under the pseudonym @pettybooshwah. He doesn’t post pictures of himself, nor does he release details about his whereabouts.

But he’s not shying away from political debate.

“When you don’t follow people with the opposing viewpoint, Facebook and Twitter can become an echo chamber where everybody agrees,” Stevens said.

‘Facebook is not a democracy’
 

Read the rest of the post on Fox 4 News.

The National Emerging Writer Programme – a Great New Free Resource for Writers

If you’re a budding author, you could do a lot worse than check out the National Emerging Writer Programme. It’s a free training resource open to writers world-wide.

To quote from the website…

Developed by writing.ie and Dublin UNESCO City of Literature, the National Emerging Writer Programme is a world first – a centrally funded initiative to foster and develop new writing talent.

A year in development, the National Emerging Writer Programme harnesses the experience and expertise of three of Ireland’s leading writers, Carlo Gébler, Sinead Moriarty and Declan Hughes and brings it via DVD and You Tube directly to those who can benefit from it most – emerging writers.

The main resource consists of three 40-minute videos: ‘Start Writing’, ‘Telling the Story’ and ‘Revising, Rewriting and Overcoming Obstacles’. Lots of good advice and food for thought is on offer, and plenty of inspiration as well.

As stated above, the videos are available on DVD, but they have also been saved to YouTube in bite-sized chunks. I’ve embedded the introductory trailer below…

As always, if you are receiving this post by email or RSS, you may need to visit my blog to watch the video.

As well as the videos, all of which can be viewed via the writing.ie website, a range of written support materials can be read or downloaded in PDF format. They cover such topics as Structuring Your Story, Creating Characters and Writing Dialogue. The PDFs are quite short (1 or 2 pages) but contain some valuable tips.

The National Emerging Writer Programme is a great resource for aspiring authors and completely free, so why not take a look today?

Many thanks to Vanessa O’Loughlin of the Irish online writing magazine www.writing.ie for drawing the National Emerging Writer Programme to my attention.

This is a reprint from Nick DawsNick’s Writing Blog.

Why Authors Tweet

This article, by Anne Trubek, originally appeared on The New York Times Sunday Book Review on 1/6/13.

Since the 19th century, the common conception of “the author” has gone something like this: A young man, in his garret, writes furiously, crumpling up papers and throwing them on the floor, losing track of time, heedless of the public, obsessed with his own imagination. He is aloof, elusive, a man whom you know only by his writing and the portrait in his book.

Writers themselves have sustained this myth, asking readers to keep their distance from authors, who should remain enigmatic. W. B. Yeats remarked that the poet “is never the bundle of accident and incoherence that sits down to breakfast.” T. S. Eliot further argued that “the progress of an artist is . . . a continual extinction of personality”; forget about getting to know the figure behind the words: “Honest criticism and sensitive appreciation is directed not upon the poet but upon the poetry.” On his Facebook page, created by his publisher, Jeffrey Eugenides recently expressed similar sentiments. In “A Note From Jeffrey Eugenides to Readers,” he described his joy at meeting them, but concluded by saying he doesn’t know when or if he’ll post on the page again: “It’s better, I think, for readers not to communicate too directly with an author because the author is, strangely enough, beside the point.”

But readers are not heeding Eugenides’s advice, nor are many writers. Why? For one thing, publishers are pushing authors to hobnob with readers on Twitter and Facebook in the hope they will sell more copies. But there’s another reason: Many authors have little use for the pretension of hermetic distance and never accepted a historically specific idea of what it means to be a writer. With the digital age come new conceptions of authorship. And for both authors and readers, these changes may be unexpectedly salutary.

Salman Rushdie told me he enjoys Twitter because “it allows one to be playful, to get a sense of what is on a lot of people’s minds at any given moment.” He has written more than a thousand tweets — “OK: Philistinism (destroying bks bec you don’t care abt bks) is not fascism (destroying bks bec. you DO care). But both destroy books” — and more than 150,000 people follow them.
 

Read the rest of the article on The New York Times Sunday Book Review.

Commodity Publishing, Self-Publishing, and The Future of Fiction

This post, by Jane Friedman, originally appeared on her blog on 1/8/13.

Many years ago, when I started working for Writer’s Digest, I was put on the self-publishing beat. I started by reading Dan Poynter’s guide, by the godfather of self-publishing, then the Marilyn Ross guide. I attended EPIC, once the leading conference for e-book authors, and sat on a panel with Piers Anthony to discuss the advantages and disadvantages of traditional publishing, POD publishing, and digital publishing. For a couple of years, I edited a newsstand-only magazine called Publishing Success, geared toward independent authors, and oversaw the Writer’s Digest Self-Publishing Book Awards. I developed lasting relationships with several indie authors during that time, including John Sundman and M.J. Rose, and I saw a few authors successfully cross over to traditional publishing.

At that time (which was in the early 2000s), if you were a self-published author, print-on-demand was emerging as the golden ticket to affordable independent publishing. New POD publishers were marketing their services with dirt-cheap introductory packages—as low as $99—to entice authors fed up with rejection to find success through this no-print-run-required technology. What most authors discovered, however, is that without access to bookstore shelves, or a reliable way to get in front of readers (these were the early days of the Internet—no social media and very little in the way of popular blogging), you were pretty much wasting your time.

One author stood out, though, as finding a way where the others didn’t—M.J. Rose. She was turned down by traditional publishers but was convinced there was a readership for her work. So in 1998, she set up a website where readers could download her book for $9.95 and began to seriously market the novel online. After selling 2,500 copies (in both electronic and trade paper), her novel Lip Service became the first e-book sensation to score an author a traditional publishing contract. (What is also interesting here is Rose’s background: advertising.)

When asked about the future of self-publishing in October 2012, Rose told The Nervous Breakdown:

In 2000, when I was the e-publishing reporter for Wired.com, I was asked about the future of self-publishing and at that time said it would become the best test market for publishers to find future superstars—as soon as e-books took off and that wouldn’t happen until the readers dropped to under $100. We’re there—it’s happening. Every week the press reports on two or three major deals with self-pubbed authors who have built up their own fan bases.[1] But notice how those self-pubbed authors are moving to traditional deals. As empowering as self-pubbing is—it’s not easy to go it alone. Most of us writers want to be writers—not have to spend years studying the business of publishing and becoming entrepreneurs. So I think there are going to be more and more creative business models to offer authors trustworthy and creative partnerships as solutions to going it alone. It’s an amazingly exciting time in publishing.

I agree with M.J. My question is: Is self-publishing going to become the predominant, preferred, or recommended means for authors to launch their careers? While we might all agree there are more paths than ever to get published and be a successful author, some advocates of self-publishing—primarily those (perhaps exclusively those) who write genre fiction go a step further: Don’t even bother getting traditionally published. Self-publish first.

Usually the model or formula is expressed like this:

 

Read the rest of the post on Jane Friedman’s blog.

Smashwords Year in Review 2012 – The Power in Publishing is Shifting to Authors

Welcome to my annual Smashwords year in review.

In the last 12 months, tens of thousands of new authors and publishers have joined the Smashwords community. I welcome you.

A brief introduction to Smashwords is in order.

I founded Smashwords in 2008 to change the way books are published, marketed and sold. I realized that the traditional publishing industry was broken. Publishers were unable, unwilling and disinterested to take a chance on every writer.

Today, Smashwords has grown to become the world’s largest distributor of ebooks from self-published authors and small independent presses.

The idea behind Smashwords was simple: I wanted to create a free ebook self-publishing platform that would allow me to take a risk on every writer. I wanted to give every writer the freedom to publish, and every reader the freedom to read what they wanted.

Back in 2007, we designed our logo with this revolutionary ideal in mind. The up-thrusting fist holding the book represented our desire to transfer the power of publishing to writers and readers. Today, we still refer to it as our “Power to the people” logo.

The revolution is now in full swing. Indie authors know ebook self-publishing is the future of publishing. Ebook retailers know this as well. Traditional publishers, however, have been slow to grasp the transformative impact the self-publishing revolution is having on the industry.

We’re entering a golden age of publishing. The ebook self-publishing revolution will lead to a more great books being published than ever before. More books will touch the souls of more readers, because indie ebooks make books accessible, affordable and discoverable to more people. These books, in all their diverse and controversial glory, are cultural treasures.

Our authors know that every writer – every one of us – is special, and those who doubt this truth will become the dinosaurs of tomorrow. You can’t truly honor the culture of books without honoring the writers who create them. You can’t truly honor the value of books if you measure their value by perceived commercial merit alone. You either value the human potential of all writers, or none at all.

Every day, I’m thankful that so many writers, readers and retailers have supported the cause of self-published ebooks. Every day, I’m tickled pink that so many authors, publishers and retailers have partnered with Smashwords, because without your trust and support, we wouldn’t be here.

Unlike self-publishing services that earn their income by selling over-priced services to authors, Smashwords doesn’t sell services. The money flows to the author. We earn our commission only if we help sell books. We think our approach aligns our interests with the interests of our authors and publishers.

Since most books don’t sell well, and we rely entirely on commissions, it’s incredibly difficult to build a profitable business doing what we do. We figured out how to do it.

Smashwords highlights for 2012
2012 was another incredible year for the Smashwords authors, publishers, literary agents, retailers, libraries, and customers we serve.

Here are some of our key milestones for 2012:

  • Catalog growth: We’re ending the year with more 190,500 books at Smashwords. 98,000 new titles were added to the Smashwords catalog this year. This is up from 92,500 at the end of 2011, and up from 28,800 at the end of 2010, 6,000 in 2009, and 140 our first year in 2008.
  • More authors/publishers/literary agents choosing Smashwords: Smashwords today supports 58,000 authors and small publishers around the world, up from 34,000 at the end of 2011, 12,100 in 2010, 2,400 in 2009, and 90 in 2008.
  • Profitability: Smashwords has been profitable for 27 straight months, and our profitability is growing as our business grows. We’ve done this without bringing in outside venture capital, which means we’re free to pursue our unconventional business model without the interference of outside investors. Profitability is important, because it means we’re here for the long haul. It means we have the resources to reinvest in our business for the benefit of the authors, publishers, retailers, libraries, and readers we serve. Nowhere is this investment more apparent than in our staffing numbers (next item).
  • Employee Count: We’re ending 2012 with 19 employees, up from 13 in 2011, and 3 in 2010. This year we continued to invest heavily in customer service and software development.
  • Faster-Faster-Faster: Thanks to investments in technology and staffing, we’re providing faster conversions, faster Premium Catalog approvals, faster response times to support inquiries, faster distributions to Apple, Kobo and Barnes & Noble, and faster sales reporting. We will improve further on all counts in 2013.
  • Libraries: We signed new distribution deals with library aggregators such as Baker & Taylor Axis360, 3M Cloud Library and one other major aggregator not yet announced. We added support for custom library pricing, and we introduced Library Direct to support libraries that operate their own ebook checkout systems under the Douglas County Model.
  • Ebook Distribution Systems: We began a complete re-architecture of our ebook distribution systems to enable faster, more accurate ebook distributions and metadata updates.
  • Smashwords Profiled in Forbes Magazine: This was a big deal for us. For the first time ever, we revealed to the world our revenues (Forbes requires that startups they profile reveal numbers). Later in the year, we received coverage in the New York Times and Time Magazine. The indie ebook revolution is starting to go mainstream, though I think we’re all still flying below the radar. That’ll change in 2013.
  • Improved categorization: We completed adding support for thousands of BISAC categories to help our author’s books land on the correct virtual shelf.
  • Merchandising collaboration with retail partners: We ramped up our merchandising collaboration with retailers, especially Apple, which has been incredibly proactive and creative in working with us to create new opportunities to connect Smashwords books with millions of their customers (See Apple’s Breakout Books promo). We continued to build tools to help our retailers identify books worthy of promotional love, because these tools help Smashwords authors sell more books and help retailers satisfy more of their customers, which is their primary objective.
  • Retailers earning millions of dollars from the sale of Smashwords books: Our retail partners have made incredible investments to help list, maintain, promote, merchandise, and sell our books to their customers. I’m pleased to say their investments are paying off. We want our retail partners to do well with our books, because the value they provide to our authors and publishers far exceeds the sales commission they earn.
  • We released the Secrets to Ebook Publishing Success: In March, I released this free ebook, which identifies the 28 best practices of the most commercially successful Smashwords authors. It’s the lastest in a series of free ebooks I’ve written that promote professional publishing best practices. Along with The Smashwords Style Guide (how to publish an ebook) and the Smashwords Book Marketing Guide (how to promote any book and build author platform), my three books combined have now been downloaded over 250,000 times. Thousands of our authors and publishers have since put these practices to work.
  • Amazon: Our relationship with Amazon has been frustrating. Even though Smashwords authors have the freedom to bypass Smashwords and work directly with many of our retail partners, about 80% of our authors choose to distribute through Smashwords. They appreciate the time-saving convenience and simplicity of centrally managing their books and metadata from the Smashwords Dashboard. Unlike every other major retailer, Amazon has not yet provided us the ability to do large, automated distributions and metadata updates. As a result, our authors who would prefer to reach Amazon through Smashwords are forced to upload direct to Amazon. Although I remain hopeful Amazon will one day see fit to treat us as a partner rather than a competitor to be crushed, killed and destroyed, I’m not holding my breath. We’ve built a healthy, profitable and fast-growing business without their help, and we’ve done this despite their attempts to harm us and our retail partners. Unlike traditional publishers which would probably go bankrupt if they stopped distributing to Amazon, we face no such noose. In the meantime, we focus our energy on helping our true retail partners succeed in the marketplace.
  • We protected your right to publish legal content: When PayPal tried to ban certain categories of “objectional” books, we pushed back, and led a broad coalition of authors and pro-books advocates to overturn PayPal’s proposed policies. PayPal and the credit card companies decided to do the right thing. It was a victory for all authors, and demonstrated the growing power of the indie author movement, especially when we stick together and work toward a common cause. At Smashwords, we’re always advocating for the rights of our authors. Much of this advocacy happens quietly behind the scenes, outside the glare of press releases and media spotlight. We’re all in this together.
  • Smashwords Direct: Today, we released Smashwords Direct, a new publishing option at Smashwords that allows authors and publishers to upload professionally designed .epub files for distribution through the Smashwords network. The service complements our Meatgrinder conversion engine by enabling us to support ebooks with more complex formatting requirements.

Industry Highlights: When we started Smashwords five years ago, self publishing was viewed as the option of last resort, and 99.95 of writers aspired to publish through traditional publishers. The stigma of self publishing that was so prevalent five years ago has given way to new credibility, as Smashwords authors top all the bestseller lists and set the example for the next generation of writers.

At the same time, we’re seeing a growing stigma develop around traditional publishers, which continue to underserve authors and readers. Just as traditional publishers were slow to embrace ebooks before they began their breakout in 2009, publishers have also been slow to recognize the transformative impact self-publishing will have on the business of books. Self-published ebooks still account for the minority of ebook sales, but just as ebooks will one-day eclipse print books, so too will self-publishing eclipse traditional publishing.

In 2012, some Big 6 publishers bumbled their way into the self-publishing business, starting with Pearson/Penguin’s acquisition in July of the granddaddy of vanity presses, Author Solutions (ASI). In November, oblivious to all the screaming indie authors who called foul about the business practices of ASI, Simon & Schuster introduced its own self-publishing imprint called Archway Publishing, powered by none other than ASI, and proudly offered publishing packages ranging from $1,000 to $25,000. Twenty-five thousand dollars? How do they sleep at night? By adopting the worst practices of the worst vanity presses, publishers telegraphed to the writer community what they really think about authors: Only a few of you are worth the investment of our time, talent and resources, and the rest of you are worth only the money in your wallet.

It was a cynical move. A move that will damage the already diminishing credibility of large, traditional publishers, even those which haven’t made such a bone-headed move.

In my 2011 Smashwords Year-in-Review post last year, I wrote:

“I think few people in the traditional publishing industry comprehend how this indie author revolution will transform their business in the next few years. Their world is about to be turned upside down.”

They still don’t get it. From the perspective of indie authors, it’s starting to not matter. Publishers risk irrelevanance if they don’t adopt more progressive business policies soon.

The writing is on the wall. Traditional publishers are earning well-deserved ridicule and stigma at the very time indie authors are shedding their stigma by blazing a better path forward. What I tell you here isn’t pie-in-sky theory or empty pontification. The numbers tell the story.

In 2010, it was virtually unheard-of for an indie ebook author to hit the bestseller lists at retailers, let alone the NY Times bestseller list. In 2011, indies began to hit the bestseller lists on a more regular basis, but it was still rare. In 2012, indie ebooks were frequently listed among the top 10 bestsellers at major retailers, and multiple indie authors landed books in the bestseller lists maintained by The New York Times, USA Today, The Wall Street Journal, and others. For example, the week of August 4, 2012, four Smashwords authors hit the NY Times fiction ebooks list in the same week. Next year we’ll see more, and within a couple years indies will dominate all the bestseller lists and it’ll be seen as business as usual.

Some industry watchers might label my prediction delusional. Indie authors know it’s real because some of them are experiencing it today, and they’re sharing their results with their fellow indies. At Smashwords, where we distribute books to most major retailers, we see the sales numbers. We see how our books are starting to earn more dollars than many traditionally published books. This growth is not because Smashwords is wonderful, it’s because all writers are wonderful. You can’t love books without loving the writers who write them.

What’s driving the rise of indie ebooks? There are multiple factors, chief among them include:

  1. Indie authors are learning to become professional publishers – Indies are pioneering the publishing best practices of tomorrow, as I note in the Secrets to Ebook Publishing Success. They’re becoming more sophisticated publishers, and they’re starting to publish better books, priced more competitively, written more responsively to reader tastes, and more broadly distributed.
  2. It’s a game of numbers – Although only a small fraction of indie ebooks grace the bestseller lists, the publishing output of indie authors is unprecedented. Authors are now releasing over 9,000 books per month on the Smashwords platform. Thanks to such democratized publishing and distribution, the business of publishing has become available and accessible to all writers, for FREE. Writers who were previously shut out of publishing – simply because the conventional publishing business was broken and unable to take a risk on every author – are now publishing for free at Smashwords and elsewhere. Writers who previously gave up on writing are now writing again, because every writer can now confidently begin a book and know that it will be published, one way or another.

    In my 2013 book publishing predictions post, I talked about how future bestsellers are like baby black swans. They’re extremely rare, and hidden and indistinguishable amid flocks of baby black geese. Publishers devote enormous energy trying to cull the flock and eliminate the geese, yet at the same time they’re also indiscriminately culling black swans. Self-publishing changes this. Self-publishing gives all writers – the geese and rare swans alike – the freedom to publish direct to their readers, today, and be judged. Readers are the only ones capable of reliably identifying the black swans. This shouldn’t be a surprise. Readers have always created bestsellers through their impassioned word-of-mouth.

    When we analyze the future of publishing, where authors become more professional, and all books are given a chance in the marketplace, the law of numbers would indicate that it becomes a reasonable and inevitable conclusion that self-publishing will hatch more black swan bestsellers of the future than traditional publishing. The vaunted editorial gatekeeping function of publishers, long mistakenly believed to be a public service, has become a public disservice. At the end of the day the smart folks in publishing can only guess at what readers want to read. Publishers have long been in the business of throwing spaghetti against the wall, and then retroactively taking credit for the few books that become bestsellers. Now writers can throw their own spaghetti, and when it’s cooked just right, the author can take the deserved credit.

  3. Retailers welcome indie ebooks – Retailers have been true enablers in the ebook revolution. Ever since 2009, every major retailer has welcomed self-published ebooks. These retailers have collectively invested hundreds of millions of dollars to bring readers to their stores, and these readers are purchasing these books. Retailers and authors alike are earning millions of dollars for their efforts, which makes it a win-win for retailer and author.
  4. Ebook Self publishing is simply a superior method of publishing – Ebooks cost less to produce, package and distribute than print books. There’s no inventory, and therefore no returns of unsold inventory. With a traditional publisher, it often takes 12 months or more before the book is released. With indie ebooks, the book is published instantly to a worldwide market. The indie author enjoys greater creative freedom, a closer relationship with their readers, the ability to earn 85-100% net as opposed to the paltry 25% of net paid by publishers, and the ability to price lower – which has the virtuous effect of driving greater sales volume, faster platform-building and greater author profits. Unlike the static print books of yesteryear, ebooks are living creatures. Indie authors can leverage Viral Catalysts (see my Secrets ebook for more on these) to make their books more available, more discoverable and more enjoyable. Unlike print books, most of which quickly go out of print, Indie ebooks need never go out of print. Ebooks are immortal.
  5. Reading is moving to screens – Ebooks as a percentage of the overall trade book market will reach about 30% in 2012, up from 19% in 2011, 8% in 2010, 3% in 2009, and 1% in 2008. Within two years, ebooks will account for over 50% of book sales. As noted in my 2013 predictions, I predict that the number of books read on screens will exceed the number read on paper in 2013. If authors want to reach readers, indie ebooks are the fastest, most efficient method of doing so.
  6. The global opportunity – The ebook retailers expanded their global footprint in 2012, and will expand further in 2013. This means an author in Columbia can upload their book to Smashwords today and see that book available for sale in the Apple iBookstore in their home country in a matter of days. And because that book is written in Spanish, it’s also available in the world’s largest Spanish-speaking markets across North, Central and South America (and Spain too!). Authors can publish locally and reach readers globally. This kind of global publishing and distribution simply wasn’t feasible under the old print model.
  7. Stigmas of traditional publishers increasing as self-publishing gains street cred – Many Smashwords authors now publish direct to their readers and don’t even bother to shop their books to agents and publishers. At multiple writers’ conferences this year, I lost track of the number of times authors approached me and said words to the effect of, “I’ve been waiting for years to get picked up by a publisher. I’m done waiting. I’m going to self-publish and get out there now.”

What’s Coming to Smashwords in 2013?
At Smashwords we consider our business in constant beta. Every day we’re tweaking our business processes and technology to make everything we do faster, more reliable, more scalable, more efficient and more competitive.

In 2013 we will continue to invest in people and technology to better serve our authors, publishers, retailers, and libraries.
Here’s a brief sampling of what you can expect from Smashwords in 2013:

  • Discovery – We’ll improve our metadata to make our books more discoverable by readers. One such example is series. Currently, we don’t offer an elegant method of identifying books in a series. You’ll see this in 2013.
  • Retailer Merchandising – We’ll continue building tools, processes and relationships that give Smashwords-distributed books increased visibility to the merchandising managers at the major ebook retailers. By serving our retailers, and helping them identify Smashwords books that are worthy of extra in-store promotion, many of our authors will enjoy merchandising advantages not available to other authors.
  • More Distribution – We’ll continue to create new distribution opportunities for our authors and publishers. We believe the more high-quality retailers promoting our books to readers, the better.
  • Faster Distribution – In 2011, we shipped books to our retailers once per week. In 2012 we began shipping multiple times daily to Apple, once-daily to Kobo, and twice-weekly to Barnes & Noble. In 2013 we will continue to work with our retail partners to allow faster shipments and faster metadata updates. This will give authors greater control over their distribution.
  • Faster Reporting – We provided faster sales reporting in 2012, compared to the previous year, but we still have much improvement to make, both in speed and schedule consistency. We will continue to make incremental progress here in 2013.
  • Faster Premium Catalog Approvals – Six months ago Premium Catalog approvals took up to 13 days from the date of upload. Today approval times range from 1-5 days. We will continue to add staff and technology to improve the speed of reviews so your books can reach retailers faster.
  • Improvements to Smashwords Store – When people tell us the design of the Smashwords store is so circa 2000, we take it as a compliment because we think they’re being generous by at least a decade. The Smashwords web site user interface is outdated. We’ve neglected the design and customer experience of the Smashwords store, in favor of investing our limited resources on the distribution side of our business where we generate over 90% of our revenue.

    2013 is the year we will give the Smashwords store a facelift, not because we have designs on becoming a large ebook retailer (well, actually, we already are, even though that’s not our focus), but because we think an updated site will help us attract more books and more customers that we can feed to our retail partners. In 2013, expect to see us start adding links to some of our retail partners, so the millions of visitors to the Smashwords site can enjoy greater freedom to purchase our books and support our authors at their favorite ebook retailers. Although an individual ebook sale at Smashwords earns the author a higher royalty than a book sold at our retail partners, a book sold at our retailers brings a multiplier advantage, because it drives their “also bought” algorithms. Put most simply, our retailer partners with their broader customer reach have the ability to turn each sale into more sales than we can at the Smashwords site.

  • Improvements to Smashwords Direct – As I write this, Smashwords Direct has been operational for about one day. We’ll make multiple iterative improvements to Smashwords Direct in 2013 because we want to make it as easy as possible for Smashwords to become the ebook distributor of choice for as many authors and publishers around the world as possible.
  • Expansion of “Mark’s List” – A couple of years ago, we created a simple auto-responder email (email to list@smashwords.com) that contains a list of recommended, low-cost ebook formatters and cover designers. When you hire off of this list, all your money goes straight to the service provider performing the work. We don’t receive a commission, advertising fee or kickback of any sort. This means you gain access to valuable services at the lowest possible cost. Most of the providers are fellow Smashwords authors. We’ll expand the list in 2013 to contain more service categories. The application process will be announced at Smashwords Site Updates as we open up the list to more providers. There may be some surprises, but I’ll save that for another time.

My thanks to you
I want to express my sincere appreciation to every Smashwords author, publisher, reader, retailer, literary agent, service provider partner, and angel who has supported Smashwords over the last few years. I want to especially thank authors who continued distributing their books through Smashwords despite the inevitable growing pains experienced by both Smashwords and our retailers. Those of you who left and are considering returning, I thank you too. Your support of Smashwords – especially your decision to distribute through Smashwords – is what fuels our ability to serve the greater community of all writers around the world.

Although I’m excited by what we’ve accomplished thanks to your talent and support, I’m even more excited by the future that lies ahead of us. I still believe we’ve only scratched the surface of what’s possible. I believe that within five years, the majority of bestselling ebooks will be published by self-published authors, and I want those authors to be Smashwords authors. Help me realize this, because working together we can create a better future for writers, readers, retailers, libraries, and all those who contribute to the culture of books.

Happy New Year and safe holidays. Peace to all.

 

This is a reprint of a post by Mark Coker that originally appeared on the Smashwords blog on 12/31/12.

 

Three New, Affordable Book Marketing Programs From Dana Lynn Smith, The Savvy Book Marketer

Here at Publetariat we rarely promote author services or training programs, because frankly, there are too many charlatans out there to keep track of them all and we would never want to be responsible for putting our readership in harm’s way. However, regular Publetariat Contributor Dana Lynn Smith, also known as The Savvy Book Marketer, has been providing quality tips and advice here on Publetariat for nearly five years now, she really knows her stuff, and she’s got some great new marketing training programs that can help any author, indie or mainstream-published, increase book sales. Best of all, they’re all very affordable.

One of the most common questions authors ask is “how can I sell more books?” I’ll be honest with you – there’s no magic bullet. Book selling success comes from creating a good book that people want to read, developing an effective book marketing plan to reach the right target markets for that book, and putting the plan into action.

A good book marketing plan includes a series of strategic promotional activities that build success over time.Think of it as a blueprint to guide you along the way – no more drifting along, wondering what to do next, or feeling overwhelmed by your options.

But where do you start and how do you develop an effective book marketing strategy for the type of book that you write? These new training programs are designed to get you up to speed quickly in the best ways to sell specific types of books. Now is the time to get started developing an effective book marketing strategy, so you can move forward in selling more books!

Each of the programs detailed below is priced at just $37 and includes a 90-minute webinar, plus an information-packed Resource Guide with dozens of links to the websites and tools that you need to sell more books. Don’t worry if you aren’t available for the live webinar presentation – you’ll get links to audio and video replays the following day.

How to Sell More Novels – Thursday, January 3 (with webinar recording made available after the live session).

One of the keys to selling fiction is word-of-mouth recommendations. In the How to Sell More Novels training program, you’ll discover the best ways to get people reading and talking about your book and sharing it with others.

Here’s what else you’ll learn:
• 6 things that make a book successful
• How to define multiple target markets for your books
• The best type of website for novelists
• Where to get your book reviewed and why that’s so important
• The pros and cons of using Amazon’s KDP Select program and how to maximize its effectiveness
• The top 10 promotional tactics for selling fiction
• Other promotional tactics to consider
• Websites where you can promote your book at no charge
• 4 kinds of promotional campaigns you can use to sell more books
• Tips for developing a customized book marketing plan that works for you

How to Sell More Nonfiction Books – Tuesday, January 8 (with webinar recording made available after the live session).

One of the keys to selling nonfiction books is to find ways to showcase the expertise of the author. In the How to Sell More Nonfiction Books training program, you’ll discover the best ways to do that.

Here’s what else you’ll learn:
• 6 things that make a book successful
• How to define multiple target markets for your books
• 7 places to sell nonfiction books
• 5 marketing tools that book authors need
• The top 10 promotional tactics for selling nonfiction books
• 9 other promotional tactics to consider
• How to get paid for promoting your book
• 4 kinds of promotional campaigns you can use to sell more books
• The pros and cons of using Amazon’s KDP Select program and how to maximize its effectiveness
• Tips for developing a customized book marketing plan that works for you

How to Sell More Children’s Books – Thursday, January 10 (with webinar recording made available after the live session).

One of the keys to selling more children’s books is to find ways to interact with kids and parents. In the How to Sell More Children’s Books training program, you’ll discover the best ways to connect with families and others who buy children’s books.

Here’s what else you’ll learn:
• 6 things that make a book successful
• How to define multiple target markets for your books
• 7 places to sell children’s books
• 5 marketing tools that children’s book authors need
• The top 10 promotional tactics for selling children’s books
• 9 other promotional tactics to consider
• How to get paid for promoting your book
• 4 kinds of promotional campaigns you can use to sell more books
• The pros and cons of using Amazon’s KDP Select program and how to maximize its effectiveness
• Tips for developing a customized book marketing plan that works for you

Click any of the links above to get complete details. And take advantage of this opportunity to learn how to boost sales of your books!

Happy New Year, A Resolution, And A Request

It’s been quite a year for authors, hasn’t it? Every year we say the same thing, and every year it just seems to become more true: This is the best time to be an author.

As we enter 2013, I think this situation will get better and better.

Indie publishing and the Internet have given rise to a whole new wave of author-entrepreneurs who see the opportunities and want to make the most of them for their own writing careers.

That’s what makes your support amazing and very gratifying. If you’re a regular reader you probably know my dedication to seeing your books get better, look better, sell better and satisfy you and your readers better.

That’s what it’s all about for me. You make that possible, so I’d like to say “Thank You.”

I’d also like to say, “Stay tuned,” too, because a lot of new things will be coming in 2013. Things that I’ve never tried before, but which promise to help authors like you make and market even better books that will inspire your readers, no matter what you write.

But Then There’s the Fail

On the other hand, I’m an author, too. Yet somehow 2012 sneaked by and I didn’t publish anything. That’s kind of a fail, don’t you think?

I did publish over 100 articles on book publishing, design, marketing and social media.

And I published several new Self-Publisher’s Quick & Easy Guides, too.

But mostly what I did this past year was build training programs and sites to deliver the training.

The biggest investment of time was the Self-Publishing Roadmap, a large-scale video training course that’s proved to be popular with authors who want to jump into becoming publishers and entrepreneurs.

But I didn’t publish a book. Not one.

Here Comes the New Year

Well, 2013 won’t sneak by that way, and I’m already deep into a new project that I hope will help lots of authors.

I’m exploring the natural connection between self-publishing and blogging. Some days I think blogging is just another form of self-publishing, but I don’t think many other people see it that way.

What I’m interested in is the way authors can use their writing skills to create community, build a platform for launching their books, and make money while doing it.

Wouldn’t it be great to learn actual strategies to do those things? The same strategies and specific tactics to build your own base of fans who will support you, and help you create a truly sustainable business?

That’s what my project is all about.

Here’s the Request for You

As part of this project, I’d love to include your stories, too.

Specifically, I’m looking for short pieces about a success you’ve had through blogging. For instance:

  • you made contact with someone who really helped you
  • you discovered a cool way to get a rush of traffic and subscribers
  • you used your blog to improve your writing in a new way.
  • you had a hand in creating a new community
  • you did something on your blog that really helped to sell your books
  • you found new ways to support yourself and your writing

I think you get the idea.

Here’s what’s in it for you: In addition to the exposure if you’re included in the project, any stories I end up using will also get a link directly to your site.

I need your stories by the end of January, 2013, so if you’d like to participate, maybe do it on the holiday tomorrow when you have a few minutes to spare.

(By the way, if you quote specific numbers in your story, I may need to ask for verification, so please do have it handy just in case.)

I’d love to make your success part of this new resource for authors. To send me your story, click this link to go to a form I’ve set up for you:

Blogging Success Stories

Thanks!

And here’s to an awesome 2013, it’s going to be quite a ride.

 

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