Publetariat Vault Update: Nearly There!

Development work is complete on the Publetariat Vault, the FAQ and Terms of Use are up, and we’re now in the testing phase and on track for launch at the end of June. Whether you’re an indie author seeking mainstream attention or a publishing pro or producer seeking proven literary material for low-risk acquisitions, you’ll want to check out the Vault.

From the Vault’s welcome page:

Publishers and Producers:
The Publetariat Vault is a searchable database of independent literary works for which the authors own all rights free and clear and are interested in selling those rights, with accompanying sales data and reader reviews to take the guesswork out of determining commercial potential in the mass market—and it’s FREE for you to use.

 
 Find independent literary material that is already proven in the marketplace
See actual sales data, and know if the work already has traction
See reader reviews from bookseller sites, reader communities like Goodreads, blogs and elsewhere 
 Search by genre, topic, keyword, recommended reading level and more to find the kind of content you want to acquire
 See author platform pieces, buzz, publicity and more, and know if the author will be an active partner in promotion
 

Indie (Self-Published) Authors:
The Publetariat Vault also provides a groundbreaking service to you: the opportunity to get your indie book in front of the publishers and producers who are seeking proven books for low-risk acquisitions. If you’ve ever thought that if publishers or producers only knew how well your book is selling, how great its reviews are, and what a great job you’re doing to promote both it and yourself, they’d snap up the rights in an instant, then the Vault was made for you. 

 

 – The Vault will initially open only to authors who wish to create listings

 

– The Vault won’t open for pro searches until the 300th listing has been published – ensuring lots of listings for pros to search      
The first 300 listings to be published will be listed for free for 90 days, beginning on the day the Vault opens for pro searches 

The Publetariat Vault is currently under construction, with a planned launch at the end of June, 2009. Note that member registrations for the Vault will not be processed until the site go-live date, which will be announced on Publetariat, on this site and elsewhere.

See this Publetariat article for more information, or click the links above to check out our FAQ and Terms of Use. Click here to view a blank listing form, here to view a sample published listing, and here to view the search form publishing pros and content producers will use.

 

 

 

 

The Dreaded Author Platform

This post, from literary agent Rachelle Gardner, originally appeared on her Rants & Ramblings On Life As A Literary Agent blog on 6/15/09.

Last week at the Write-To-Publish conference, the one topic that kept coming up in conversations, panels, and workshops was AUTHOR PLATFORM. Yes, the hated p-word!

I explained again and again that publishing just ain’t what it used to be. Gone are the days when publishers were solely responsible for the marketing of a book.

Today’s audience is more segmented than it has ever been before. People have more options for their leisure time than ever before – 600 channels on television, movies on demand, video games and Wii, and then of course, the Internet. It’s harder than ever to attract people to books. The way to do it is increasingly through personal connection, and that means YOU, the author, making connections with your readers.

(This discussion applies mostly to non-fiction writers, but you novelists, take note. It will help you, too, if you want strong sales on your book.)

It has never been more crucial for authors to play a major part in marketing themselves, BUT it has never been easier. Where are readers hanging out these days? The Internet. That’s the best place for you to find readers for your books.

The Internet has leveled the playing field. With a well-written and compelling blog, you have the potential to build a significant platform. If you take the time to research website optimization and do everything recommended to build traffic on your blog, you can build a sizable audience in a matter of months. Then when you begin to use Twitter and Facebook strategically, you can grow your audience exponentially.

You can, and you must.
 

Read the rest of the post on Rachelle Gardner’s Rants & Ramblings On Life As A Literary Agent blog.

Amazon Kindle Numbers

This post, from bestselling mainstream author J.A. Konrath, originally appeared on his A Newbie’s Guide to Publishing blog on 6/11/09.

Elsewhere on the Internets, people have been referring to my previous posts about the Amazon Kindle (here and here) and one of the things they were interested in is numbers.

So here they are. Thoughts, explanations, and predictions to follow.


AFRAID
by Jack Kilborn, a horror novel, was released on the Kindle on April 1. During the first month of its release, it was available for $1.99 on Kindle. During that month, it sold over 10,400 copies.

SERIAL by Jack Kilborn and Blake Crouch was released for free on the Kindle May 20th. It’s a horror novella. As of June 10, it has been downloaded on Kindle more than 34,000 times. SERIAL also appears on www.blakecrouch.com, and has had 12,000 downloads, along with 7000 downloads from the Sony Reader website.

Both AFRAID and SERIAL were released by my publisher, Grand Central. They promoted both titles on Amazon using sidebars on Amazon.com, and on the Amazon Kindle blog.

On April 8th, I began to upload my own books to Kindle. As of today, June 11, at 11:40am, here is how many copies I’ve sold, and how much they’ve earned.

THE LIST, a technothriller/police procedural novel, is my biggest seller to date, with 1612 copies sold. Since April this has earned $1081.75. I originally priced it at $1.49, and then raised it to $1.89 this month to see if the sales would slow down. The sales sped up instead.

ORIGIN, a technothriller/horror occult adventure novel, is in second place, with 1096 copies sold and $690.18. As with The List and my other Kindle novels, I upped the price to $1.89.

SUCKERS is a thriller/comedy/horror novella I wrote with Jeff Strand. It also includes some Konrath and Strand short stories. 449 copies, $306.60.

DISTURB is a medical thriller. 371 copies, $234.21.

SHOT OF TEQUILA
is a crime novel featuring Jack Daniels. 342 copies, $164.02.

55 PROOF is a collection of 55 short stories. 217 copies, $138.99.

PLANTER’S PUNCH is a Jack Daniels novella I co-wrote with Tom Schreck. 154 copies, $107.10.

DIRTY JOKES & VULGAR POEMS is a collection of over 1000 of my Twitters, one-liners, and funny poems. 37 copies sold, $18.57.

So far on Kindle I’ve earned $2781.35 in 64 days.

PRICING: I’ve kept my collaborations priced at $1.59, and upped my other books to $1.89. Also, I reduced the price of my poetry collection to 80 cents.

What I’ve learned about pricing: Not much. I went on some Kindle forums and asked what the magic price point is, and got answers ranging between free and five bucks.

I’ve kept my books under two bucks for several reasons. First, because my intent is to use these books to hook readers and get them to buy my other, in-print titles. I give these same books away on my website for free, so charging Kindle users more than a few bucks doesn’t seem fair.

That said, raising the price from $1.59 to $1.89 didn’t cause any drop in sales or Amazon ranking. In fact, my Kindle numbers have been steadily going up.

I don’t know what the perfect combination of price/profit is… yet. Authors make 35% of their suggested retail price (Amazon then discounts this.) So I can raise the price, sell fewer books, but still make a greater profit.

For me, however, this isn’t all about profit. It’s about units sold. Which also gets confusing.
 

Read the rest of the post on A Newbie’s Guide to Publishing.

An Author's Field Guide To Internet Trolls

This is a cross-posting of an entry from my Indie Author blog, dated 6/8/09.

‘Author Platform’ is the buzzphrase of the moment. If you’re doing a good job of creating and maintaining that all-important communication channel between yourself and the public, it’s only a matter of time before the web trolls descend upon you to ruin things for everyone.

Herewith, I present a relevant excerpt from Ms. Gertrude Strumpf-Hollingsworth’s “Encyclopedia of Annoyances, Bothers and Frustrations”, which provides a valuable natural history lesson in the identification and management of the species most likely to darken an author’s virtual doorstep. 

Introduction

The Internet Troll (webicus infuriatum) is a hardy, highly adaptable family of parasites with established populations all over the web. Most leading Techno-Naturalists classify it as a viral organism due the fact that it reproduces by infecting members of targeted populations. Once exposed to webicus, susceptible individuals soon display the aggression, vitriol and boorishness which are the identifying hallmarks of all Trolls.

Hiding behind a pseudonym, webicus will quickly become the dominant element in any online ecosystem which provides it with a steady supply of attention and argument. In fact, webicus is so skilled in monopolizing these resources that it frequently drives off larger, but more peaceable, local populations. While all Trolls are destructive, there are perhaps none so pernicious as the subspecies which target author websites and online writer communities. Armed with a voluble nature and much larger vocabularies than other Trolls, these are particularly troublesome. 

The Queen Bee/King Drone (lordicus cliqueium)

Behavior: Lordicus begins by befriending charter members and site owner/administrators alike with its initial friendliness and offers of assistance. With favors banked and loyalties established, lordicus reveals its true nature when another community member voices a dissenting view, or becomes as well-liked as lordicus. In either case, lordicus and its followers close ranks to attack or freeze out the other member, claiming to speak on behalf of the entire community.

Control: The only effective method of lordicus control is a strongly-worded email from the site owner or administrator. Lordicus’ response is invariably a dramatic, martyred leave-taking from the site, after which it will continue to lurk and foment dissention among other members via off-site communications.

Identifying Call: A shrill, “Who do you think you are?”, sometimes followed by a low-pitched, “Nobody cares what you think, anyway.” 

The Puffed Pedant (self-importantia verbosia)

Behavior: Self-importantia is known for its lengthy, patronizing deconstructions of other members’ writing, in which it takes great pleasure in pointing out every broken rule of grammar, plotting, characterization and the like, regardless of whether or not said rules were broken intentionally, as a stylistic choice. Given that s.i. is never a published author in its own right, one might expect other community members to routinely disregard its remarks. However, s.i. posts with such smug conviction that it effects a sort of Jedi Mind Trick on the least experienced and most gullible members of the community.

Control: Since s.i. doesn’t technically overstep a site’s Terms of Service, there’s little the site owner/admin can do to put a stop to its antics. It was once thought that exposing the Pedant to the works of Kurt Vonnegut or Anthony Burgess would humble and silence the creature, but field studies have proven it will merely label such works “the exception that proves the rule” and emerge both unscathed and uneducated by the experience. Depriving s.i. of the attention, argument, and writing samples it craves usually proves more effective.

Identifying Call: A repetitive, clucking, “Do your homework.”  

The Prickly Recluse (hypersensitivium rex)

Behavior: This species is known for its uncanny ability to incorrectly interpret the tone or meaning of any other member posts, regardless of how innocuous those posts may be, invariably choosing the most negative or insulting meaning possible and taking that meaning entirely personally. From there, hypersensitivium will repeat and repost its incorrect interpretation in an effort to rally support and sympathy for itself.

Control: First-time victims generally interpret the Recluse’s behavior as innocent misunderstanding, and will usually attempt to resolve the matter with an apologetic, clarifying post. However, since hypersensitivium will misinterpret the palliative post as well, such efforts are destined to fail. A warning post or email from the site administrator will generate one last, self-pitying post from the Recluse, followed by several weeks of absence from the site. It is from this latter behavior that the Recluse gets its name. 

Identifying Call: A sharp, striking, "How dare you!" 

The PubPro Mimic (wannabeum knowitallia)

Behavior: This type of Troll masquerades as a publishing industry professional with many years of relevant experience, yet never offers any proof of its claims and simply ignores all requests for such. Nevertheless, using its supposed trove of expertise as bait, wannabeum easily attracts a cadre of insecure writers looking for a “secret handshake” or other insider knowledge that might give them an edge in getting published.

Since wannabeum lacks the expertise to which it lays claim, its haughty assertions about writing, getting an agent, publishing and bookselling are largely false. Even so, any attempt to correct the Mimic directly, or even to merely post an alternative viewpoint, will backfire in a firestorm of belittling recriminations from the Mimic, which will rely on its claimed expertise as all the support or proof its posts require.

Control: Catching wannabeum in a resumé lie will cause it to immediately vacate a site, but this is nearly impossible since wannabeum never posts under its real name and is careful to keep the identifying details of its claimed career experience vague.

Identifying Call: “If you’d worked in the publishing business for as many years as I have, you’d know how ridiculous you sound.”

The Equalizer (evenus stevenus)

Behavior: Evenus is the self-appointed score keeper and referee of any community it inhabits. Evenus keeps constant track of who has shared good or bad news, who has posted congratulations or sympathy, and whether or not such congratulations or sympathies are adequately effusive and timely. Anyone failing to pass the Equalizer’s test is subjected to the same kind of freeze-out favored by the Queen Bee / King Drone, but unlike that species, the Equalizer keeps the impetus behind its attack secret for as long as possible. Often, Evenus deprives its victims of this information for so long that another member of Evenus’ circle is ultimately the one to reveal it.

Control: As with the Puffed Pedant, since Evenus doesn’t technically break any site’s Terms of Service, little can be done to discourage it. One can either ignore Evenus or strive to steer clear of it.

Identifying Call: frosty silence.
 

The Sock Puppet Master (bittera duplicator)

Behavior: Perhaps the most pathetic of all the Troll species which favor author communities and websites, bittera creates its own support network by setting up multiple user accounts. It uses these accounts to create negative or attacking posts about others and their work, then uses its other accounts to second its own opinions in a masturbatory fashion.

Control: No specific action is necessary. Bittera will eventually reveal itself as a fraud by losing track of its various aliases, posting in the tone or style of one persona while logged in as another. Once exposed, this Troll will immediately delete all of its past posts, close its many accounts and move on to a new site. It may reappear months later to set up a new collection of accounts and aliases, but only when it’s sure its past activities have been forgotten.

Identifying Call: mockingbird-like repetition of, and agreement with, anything posted under any of its many aliases.

The Fake Friendly (condescendiosa passive-aggressivium)

Behavior: This Troll openly attacks and insults authors and their work, and when called to account for its unacceptable behavior, claims its remarks have been misinterpreted and it meant no offense.

For example, in a thread about the merits of giving away free ebook copies as a promotional gambit, following the post of a member extolling the virtues of free ebook copies, it may post, “If your book was any good, you wouldn’t have to give it away.” When the other member responds with understandable anger and offense, the Fake Friendly will defend itself by retreating behind a response along the lines of, “I didn’t say your book actually is no good, I’m just saying that you deserve to be paid for quality work.”

Condescendiosa can keep this back-and-forth dance of insults and re-interpretation going indefinitely, but its most maddening behavior is its penchant for claiming the moral high ground by recasting its abuse as simple, well-meaning honesty, which it says others can’t tolerate on account of being overly sensitive.

Control: Much like the Sock Puppet Master, this type of Troll is always the cause of its own undoing. As it slashes and burns its way through the community, systematically training its disingenuous focus on member after member, condescendiosa eventually finds it has more enemies than cohorts and vacates the premises.

Identifying Call: “You’ll never make it as a writer if you don’t develop a thicker skin,” and “I don’t know what you’re so upset about.”
 

April L. Hamilton is an author and the founder of Publetariat.

Eighteen Challenges in Contemporary Literature

This list, by Bruce Sterling, originally appeared on Wired.com’s Beyond the Beyond blog on 5/30/09.

1. Literature is language-based and national; contemporary society is globalizing and polyglot.

2. Vernacular means of everyday communication — cellphones, social networks, streaming video — are moving into areas where printed text cannot follow.

3. Intellectual property systems failing.

4. Means of book promotion, distribution and retail destabilized.

5. Ink-on-paper manufacturing is an outmoded, toxic industry with steeply rising costs.

6. Core demographic for printed media is aging faster than the general population. Failure of print and newspapers is disenfranching young apprentice writers.

7. Media conglomerates have poor business model; economically rationalized “culture industry” is actively hostile to vital aspects of humane culture.

8. Long tail balkanizes audiences, disrupts means of canon-building and fragments literary reputation.

9. Digital public-domain transforms traditional literary heritage into a huge, cost-free, portable, searchable database, radically transforming the reader’s relationship to belle-lettres.

Read the rest of the list on Wired.com’s Beyond the Beyond blog.

Publetariat Vault Update: Get Ready!

The Publetariat Vault is coming, and the Vault FAQ and Terms of Use are up!

The Vault aims to give publishing pros and content producers a tool they’ve never had before: a complete picture of the commercial viability of a given literary work, including actual sales data and reader reviews, provided before rights to that literary work are secured.

Authors: If you’ve self-published in an effort to garner mainstream publisher or content producer attention you will definitely want to list your book, and we’re making it easy by providing a free listing period for the Vault’s grand opening.

The Vault will provide a searchable database of indie print and ebooks available for mainstream acquisition. Listings will include the usual book information (e.g., title, author name[s], brief description), as well as a synopsis, excerpt, keywords, links to reviews of the book on bookseller sites and book sharing sites (e.g. GoodReads, Shelfari), the ability for authors to select up to 4 genre assignments from among over 70 choices, and the ability to provide links to any or all of the following: current bookseller listings (including current sales rank, where reported on bookseller sites), author websites and blogs, author social media profiles, articles published by authors, reviews of the book, author interviews and more.

In other words, all the information publishing acquisions pros and content producers need to decide whether or not a book meets their needs, both in terms of content and marketing criteria.

The Vault is being built by indie authors with publisher input, so you can be sure it will enable you to showcase your book in the best possible light while providing the information publishing pros say matters most to them in deciding whether or not to pursue a given book. The Vault isn’t quite ready for you yet, but it will be soon and in the meantime, you can work on getting the following items ready for your free listing:

Brief Description – plain text passage, up to 1000 characters including spaces. If your book is listed on Amazon, the Vault can pull your description in directly from your book’s Amazon page. Editor’s correction: since tests have shown that Amazon can alter or reformat its data at any time without notice (remember #AmazonFail?), the Publetariat Vault has elected not to rely on the import of any data from Amazon in its listings.

Synopsis – a file in txt, rtf or pdf format, containing a beginning-to-end, concise summary of your book in 2 pages or less, maximum file size of 50k. Be sure to include author name(s) and book title, either at the beginning of the first page or in the header or footer of every page. If you’re not sure how to create a synopsis, Google "book synopsis" for more information and examples.

Excerpt –  a file in txt, rtf or pdf format, containing up to the first 30pp of your book, maximum filesize of 1MB. Note that pdf is the only file format that will preserve your original fonts and formatting. Again, be sure to provide the name(s) of the author and the book, either in the form of a cover page, or in the header or footer of every page.

Author Website or Blog – Whether you need to create a new one or polish up an existing site or blog, it’s time to get started.  There are plenty of free, online resources to help you with this. Several are available right here on Publetariat, in the Sell department, but you can find plenty more by Googling for "author blogs", "build a website" or "author platform".

Social Media Profiles – if you intend to share your Facebook, MySpace, Twitter and other social media profiles with publishing pros who check out your book listing, you’ll want to make sure those profiles reflect positively on you and your book. Remove any questionable material (photos, videos and written confessions of you partying down or badmouthing real and imagined enemies have got to go) and add more material of authorial merit. If your blog, site or social media profiles scream, "BUY MY BOOK!!!!", tone it down. You’ll also need to ensure your social media profiles are set to "public" on sites like Facebook or MySpace in order to allow people who aren’t members of the site(s) in question to view your profile(s).

Book Cover Image – a cover image with dimensions of 125×175, with a file type of gif, jpeg or jpg. If your book is listed on Amazon, the Vault can pull your book cover image directly from your book’s Amazon page. Editor’s correction: since tests have shown that Amazon can alter or reformat its data at any time without notice (remember #AmazonFail?), the Publetariat Vault has elected not to rely on the import of any data from Amazon in its listings.

We’re planning to open the Vault for listings by the end of June—sooner, if we can possibly manage it—, so if you want to be a part of this exciting new opportunity to bring indie books to the attention of publishers who are looking to buy, get ready NOW!

Would you rather be a Best-Selling Author or a Best Writing Author?

Dan Brown’s new book “The Lost Symbol” will be out in September and the publishing industry is looking forward to blockbuster sales. Last week at the Sydney Writers Festival, it was pointed out that literary fiction doesn’t sell and one of the panel asked authors to ‘please write more books that sell’. After all, it will help you as an author as well as the suffering publishing industry!

So what do we aim for as authors?

One the one hand we want to win prizes, be literary geniuses and praised for our glorious ability with words. On the other hand, we want to make money! (after all, most literary prizes are very small! )

Here are some examples of best-selling authors that cannot be considered “literature”, but are definitely books that are popular and have touched the hearts of millions (and made a lot of money for their authors and publishing houses). 

  • Dan Brown “The Da Vinci Code” has sold more than 80 million copies. The movie made more than $700 million at the box office. I have read “The Holy Blood and the Holy Grail”, the non-fiction book that the ideas came from, as well as perhaps the literary equivalent Umberto Eco’s “Foucault’s Pendulum”. I enjoyed both other books, but Dan’s comes out tops in terms of popular appeal! 
     
  • Robert Kiyosaki with The Rich Dad series of books, which have sold over 27 million copies in 109 countries. Robert is a multi-millionaire, and says himself “I am a bestselling author, not a best writing author”. 
     
  • JK Rowling of Harry Potter fame is constantly criticised by literature fans especially for her use of adverbs. But that hasn’t stopped her from becoming the first ever billionaire author and loved by millions around the world. 
     
  • The Chicken Soup for the Soul series by Jack Canfield and Mark Victor Hansen is just a bunch of stories told by real people in simple language. Those simple stories have touched hearts in 40 countries and sold over 112 million copies, as well as developing into aself-development franchise model. 
     
  • Stephenie Meyer with the Twilight series. Stephenie is even criticised by Stephen King on her writing ability, but that hasn’t stopped her books selling over 30 million copies, as well as the movie rights and associated merchandise. 

There are many literature prizes – the Man Booker is just one of them that I follow. I found this excerpt on the impact of winning the Booker Prize on Yann Martel, author of “The Life of Pi” (which is a great book!). 

“…after the announcement of the Booker win, Life of Pi sold 7,150 copies in the UK, making it the bestselling hardback fiction that week…. D.B.C Pierre “Vernon God Little” went from a sale of 373 copies to 7,977 in the week after” 

Clearly, literary fiction sells less than mass market popular fiction. 

 

Some of my groaning bookshelves

Some of my groaning bookshelves

Now, I love books of all kinds. I have a lot of literary fiction, stacks of non fiction and many popular fiction novels (although those often get recycled through second-hand bookshops!) 

I go to Writers Festivals, I have taken writing courses. I write journals and poetry and have 3 non-fiction books to my name. I have always wanted to win the Booker Prize because of the prestige! 

But I have decided that I want to be a best-selling author, NOT a best-writing author lauded by lit fic critics! I want to write well, but not be classed as literature. I want to be popular, not literary. 

How about you? Would you rather be a best-selling author or a best writing author?

This post appeared on The Creative Penn: Writing, self-publishing, print-on-demand, internet sales and promotion…for your book.   

Tension, Pacing and Speedboats

This post, by Ben Whiting, originally appeared as a guest blog entry on Tricia Goyer’s My Writing Mentor blog on 4/20/09.

Every good story has some degree of underlying tension. Even in a character-driven novel like Pride and Prejudice, which is totally devoid of exploding helicopters and other modern action conventions, is full of internal and external conflict. The question is not if? but how much?

Think of your story as a speedboat. You, as the author, are the pilot of this speedboat, charged with controlling both the speed and direction of your story at all times. The reader is pulled along behind you as a water-skier and is free to let go of the rope at any point. Your job is to keep the ride interesting—by taking unexpected turns or traveling at break-neck speeds. Another method of maintain interest is alternating your speed, which is our focus here.

The first reason to vary the speed at which you pull your reader is simple: boredom. Going at the same pace through an entire novel, no matter how gripping that pace may be initially, will sooner or later grow tiresome to the reader. Clichés are avoided for the same reason. Variety is the spice of life. Familiarity breeds contempt. We’ve heard these self-condemning sayings so many times they have lost their impact, and a constant pace in your story will have the same affect.

Perception is the other reason speed variation is important. You need go no further than your local highway to test this theory. To the pedestrian standing on the side of the road, sixty miles and hour is very fast. To a passenger in a car going ninety-five, sixty seems as slow as dial-up Internet access. By taking advantage of this comparative aspect of pacing, an author can make an already tense portion of the story seem even more intense.

Ben Whiting is a full-time English student at the University of Texas at Arlington and co-general editor of the award-winning collegiate publication Marine Creek Reflections. His current writing project, Penumbra, is a contemporary suspense novel that he hopes to finish over the summer.

Read part two, ‘More Boating Techniques’, on Tricia Goyer’s My Writing Mentor blog.

Publicity And Book Reviews

This post, by Charles Atan, originally appeared on his Bibliophile Stalker LiveJournal on 5/27/09.

Over at Fantasy Book News & Reviews, Jeff swears off reviewing books before [the] release date. It’s a good guideline to live by but it’s by no means a universal rule. Jeff is also working on the belief that book reviews are in the service of the publisher/author–and that’s honestly not the case with every reviewer. But if we’re just talking about promoting a book and the corresponding book review, when to release a book review depends on the publisher’s marketing plan.

Pre-release hype is good but I’ll qualify that by mentioning only if it can be sustained. Theoretically, you want to build-up excitement for the book and reviews can help with that (it’s not the only method but for the sake of limiting the scope of this essay, I’ll just focus on the book reviews aspect). A lot of the blockbuster movies accomplish this through trailers and the occasional new media marketing ploy. An example of how early book reviews [are] leveraged by the publisher is when they use a line or two as a cover blurb for the book (or failing that, a blurb for their website, which was the scenario for my review of J.M. McDermott’s Last Dragon [as far as marketing is concerned though, you might want to read about McDermott’s experience with having a dedicated sales force working on his novel]).

I added the qualifier "if it can be sustained" because a poorly executed marketing plan can lead to a lot of wasted effort. Jeff tackles some of those points but I’ll talk about an issue closer to home. One of my local publishers is Philippine Genre Stories. One of [its] biggest mistakes is the timing of its online promotions (to their credit, they also have some great successes–they have more local readers on their blog compared to mine for example). The first mistake they make with each issue is posting the cover of the magazine months ahead of when it actually gets released. Case in point is the horror issue ([in] which I’m included) which went live at the blog last October 15, 2008. If the issue came out in October or November, the timing would have been right. The second time they failed to capitalize on the publicity was when the book was reviewed in a leading TV station’s site, last December 10, 2008. Again, if the book had come out in November or even December, the timing would have been great. But since the issue still hasn’t been released (I suspect it’ll be out in time for this year’s Halloween), whatever interest stirred up by the review has dissipated.

That’s just one perspective on the matter though. A publication with an efficient marketing team could have sustained reader interest until the issue’s release. This usually works well with either an established series or a really popular author. Look at J.K. Rowling and the Harry Potter books. Mid-way through the series (which was when people started paying a lot of attention to her), it was a year or two between the release of each book. Yet fans were looking for news and snippets every single week which would culminate in large gatherings during the book’s release. In fantasy, this is also the case with the multi-volume epics such as The Wheel of Time or A Song of Ice and Fire. The scenario of epic fantasies is interesting because it’s an example of how negative publicity is still publicity: all those fanboys complaining that the books aren’t out yet are contributing to the hype surrounding the books.
 

Read the rest of the post on Charles Atan’s Bibliophile Stalker  LiveJournal.

The Long Goodbye?

This article, by Elisabeth Sifton, originally appeared on The Nation website on 5/20/09.

Humanity has read, hoarded, discarded and demanded books for centuries; for centuries books have been intimately woven into our sense of ourselves, into the means by which we find out who we are and who we want to be.

They have never been mere physical objects–paper pages of a certain size and weight printed with text and sometimes images, bound together on the left–never just cherished or reviled reminders of school-day torments, or mementos treasured as expressions of bourgeois achievement, or icons of aristocratic culture. They have been all these things and more. They have been instruments of enlightenment.

Once the invention of movable type and various commercial advances in the early modern era enabled printers to sell books to anyone who could and would pay for them (no longer reserving them for priests and kings), they became irresistibly popular: their relatively sturdy bindings gave them some permanence; the small-format ones were portable and could be read anywhere; and they transmitted sensory pleasures to eye, hand and brain. Children learned to read with them; adolescents used them, sometimes furtively, to discover the secrets of grown-up life; adults loved them for the pleasure, learning and joy they conveyed. Books have had a kind of spooky power, embedded as they are in the very structures of learning, commerce and culture by which we have absorbed, stored and transmitted information, opinion, art and wisdom. No wonder, then, that the book business, although a very small part of the American economy, has attracted disproportionate attention.

 

But does it still merit this attention? Do books still have their power? Over the past twenty years, as we’ve thrown ourselves eagerly into a joy ride on the Information Superhighway, we’ve been learning to read, and been reading, differently; and books aren’t necessarily where we start or end our education. The unprofitable chaos of the book business today indicates, among other things, that slow, almost invisible transformations as well as rapid helter-skelter ones have wrecked old reading habits (bad and good) and created new ones (ditto). In the cacophony of modern American commerce, we hear incoherent squeals of dying life-forms along with the triumphant braying and twittering of new human expression.

People in the book business, like the readers they seek out (a minute fraction of the literate population), hate to think that books might be moribund, and signs of vigorous life in some quarters belie the grim 2009 forecasts. Also, publishers have always mournfully predicted that the end was nigh–they must share either a melancholy temperament or sensitivity to the fragility of culture–so today’s dire predictions aren’t in themselves news. (I’m speaking here not of technical books or textbooks, which are facing their own crises, but of what are called general trade books–literature, politics, history, biography and memoir, science, poetry, art–written for the general public.) When I first got a publishing job almost half a century ago, my elders and betters in the trade regularly worried about The Future of Books, even though manuscripts continued to pour onto our desks. They worried, too, when firms changed ownership. The eponymous boss of the house where I first typed rejection letters and checked proofs sold his company to Encyclopedia Britannica in 1966; The Viking Press, which I joined in 1968, was sold by Thomas Guinzburg, son of its founder, to Pearson in 1975 and went through many permutations of a merger with Penguin Books, also owned by Pearson; Alfred A. Knopf, where I worked from 1987 to 1992, was a jewel of a firm that in 1960 had become a dépendance of Random House, in turn owned by RCA, then sold to the Newhouse brothers in 1980 and sold by them to Bertelsmann in 1998; Farrar, Straus and Giroux, which I joined in 1993, lost some of its independence when Roger Straus sold the company to Holtzbrinck in 1994, and more after his death in 2004.

All told, I’ve worked in only four firms, yet for seven different owners and in eight or nine different publishing arrangements designed and redesigned to accommodate varying corporate intentions. I have seen up close how feckless management activity can change things. Of course, now we all are acquainted with truly vast corporate fecklessness, which has brought us a world-historical economic meltdown that dwarfs everything. For publishers, it comes on top of systemic difficulties they have long struggled to resolve, mitigate or ignore–difficulties only compounded by changes that the digital realm has been making in our reading culture.

As we know, all retail businesses collapsed in September, failed to recover during the Christmas season and have been weak ever since. Book sales continued to drop in the spring, but then, they’ve been stagnant for years. It was in 2001, when the dot-com bubble was beginning to burst but before the shock of 9/11, that I first heard a morose sales director use the catch-phrase "flat is the new up." Book publishers and sellers were overextended and had grown careless, like everyone else, in the go-go years, while the digital reading revolution continued and business worsened. In the past six months, layoffs and shutterings have become commonplace.

A key element in the dissemination of books, independent of publishers and booksellers but essential to both, is the press. The simultaneous collapse of the business model for newspapers and magazines is a gruesome fact of life, and we book people keenly feel the pain of a sister print-on-paper industry, to put it mildly. All citizens should be alarmed by the loss of such a vital necessity to a democracy. But the hard numbers and socioeconomic exigencies of journalism’s huge crisis differ greatly from those of book publishing’s smaller one (though they are often conflated). Here I want only to stress that the loss of so many book-review pages nationwide is crippling all aspects of our literary life. And I mean all. Book news and criticism were fundamental to the old model of book publishing and to the education of writers; Internet coverage of books, much of it witty and interesting, does not begin to compensate for their loss.

It is taking time for the obsolescence and decay in the book world to show, given the energy and talent of so many writers, their continued devotion to book genres, the resourceful bravery of some publishers, the continuing plausibility of many aspects of their business, the pleasure and profit taken in reinforcing familiar reading habits and the astonishing biodiversity of book publishing. Not to mention the usual quotient of laziness. European publishers are happy right now because things seemed to go well at the winter book fairs in Leipzig and Paris; the London Book Fair, in April, was hopeful if meager, with strenuous, incoherent efforts made to engage with the digitized word. In America, pubescent vampire novels are selling like crazy to readers of all ages, also memoirs about cats and puppies; classics are still in demand, as are cookbooks about cupcakes, of which there are an amazing number. Books by brand-name writers continue to populate the bestseller lists (though not racking up the numbers they used to). Every week the trade bulletins report hundreds of new books being signed up, sometimes for absurd amounts of money, by dozens of publishers.

Read the rest of the article on The Nation.

Why A Pre-Publication Web Presence Is Important.

This post, from Yen Cheong, originally appeared on The Book Publicity Blog on 5/11/09.

At this point, pretty much everyone is convinced of the value of an author’s web presence.  Yay.  But I’ve seen too many authors shoot for the book’s publication date (or a couple weeks before) as the launch date for their website.

This is about four months too late.

Typically, four to six months before the hardcover publication of a book, the publicity department sends out galleys to magazine and newspaper book editors as well as to some broadcast producers and online journalists. 

[Publetariat Editor’s Note: since ‘galleys’ aren’t always applicable to the world of indie authorship, you may want to substitute ‘author copies’ for the term in this article.]

When I follow up with galley recipients, I’ll include some information about the book in the text of my email message, but it’s helpful for me to be able to link to more information online — links are an extremely effective and unobtrusive way for book publicists to provide the media with the additional details that could sell a writer or editor on a book.  They are also vital tools for bloggers whose posts are lent credibility by links that direct readers to further information.

I’m not saying the complete author website needs to be up and ready six months before the book’s publication date.  I’m not even saying the author has to have a web site at all.  But I am saying it’s a really, really good idea for *something* — a website, a social networking profile, a blog — to be accessible when galleys are mailed out.  An author without a web presence is a bit like the proverbial tree falling in a forest with no one around.

The more information a website has the better, of course, but it’s also okay also to add to the site in stages.  Realistically, busy authors may simply not have the time or the money to create beautiful websites at this stage in the game (or ever).  Here are a few quick and cheap suggestions for getting online fast:

Read the rest of the post on The Book Publicity Blog, and also see What Not To Have On Your Book Website on the same blog.

Bowker Reports U.S. Book Production Declines 3% in 2008, But "On Demand" Publishing More Than Doubles

Traditional publishing faces pivotal year of retrenching, while emergence of new technologies leads to soaring growth in short-run book publishing

New Providence, NJ – May 19, 2009 – Bowker, the global leader in bibliographic information management solutions, today released statistics on U.S. book publishing for 2008, compiled from its Books In Print® database.  Based on preliminary figures from U.S. publishers, Bowker is projecting that U.S. title output in 2008 decreased by 3.2%, with 275,232 new titles and editions, down from the 284,370 that were published in 2007.

Despite this decline in traditional book publishing, there was another extraordinary year of growth in the reported number of “On Demand” and short-run books produced in 2008.  Bowker projects that 285, 394 On Demand books were produced last year, a staggering 132% increase over last year’s final total of 123,276 titles.  This is the second consecutive year of triple-digit growth in the On Demand segment, which in 2008 was 462% above levels seen as recently as 2006.

“Our statistics for 2008 benchmark an historic development in the U.S. book publishing industry as we crossed a point last year in which On Demand and short-run books exceeded the number of traditional books entering the marketplace,” said Kelly Gallagher, vice president of publisher services for New Providence, N.J.-based Bowker.  “It remains to be seen how this trend will unfold in the coming years before we know if we just experienced a watershed year in the book publishing industry, fueled by the changing dynamics of the marketplace and the proliferation of sophisticated publishing technologies, or an anomaly that caused the major industry trade publishers to retrench.”

(Editor’s Note: Members of the news media who are interested in obtaining statistics from Bowker for specific industry categories are invited to email Daryn Teague, Bowker’s public relations consultant, at dteague@teaguecommunications.com.

(This e-mail address is being protected from spambots. You need JavaScript enabled to view it ).

“The statistics from last year are not just an indicator that the industry had a decline in new titles coming to the market, but they’re also a reflection of how publishers are getting smarter and more strategic about the specific kinds of books they’re choosing to publish,” explained Gallagher.  “If you look beyond the numbers, you begin to see that 2008 was a pivotal year that benchmarks the changing face of publishing.”

Among the major publishing categories, the big winners last year were Education and Business, two categories that might suggest publishers were seeking to give consumers more resources for success amidst a very tough job environment.  There were 9,510 new education titles introduced in the U.S. in 2008, up 33% from the prior year, and 8,838 new business titles, an increase of 14% over 2007 levels.

By contrast, the big category losers in 2008 were Travel and Fiction, two categories in which publishers clearly saw less demand during a deep recession in the U.S.  There were 4,817 new travel books introduced last year, down 15% from the year before, and 47,541 new fiction titles, a drop of 11% from 2007.  Moreover, the Religion category dropped again last year, with 14% fewer titles introduced in the U.S., and that once reliable engine of growth for publishers is now well off its peak year of 2004.

According to Gallagher, the Bowker data reveals that the top five categories for U.S. book production in 2008 were:

1.    Fiction (47,541 new titles)
2.    Juveniles (29,438)
3.    Sociology/Economics (24,423)
4.    Religion (16,847)
5.    Science (13,555)

DOWNLOAD THE FULL STATISTICS REPORT HERE (PDF, 12KB)

Methodology
The book production figures in this news release are based on year-to-date data from U.S. publishers and include traditional print as well as on demand titles.  Audiobooks and E-books are excluded.  If changes in industry estimates occur, they will be reflected in a later published report. Books In Print data represents input from more than 75,000 publishers in the U.S. The data is sent to Bowker in electronic files, and via BowkerLink, Bowker’s password protected Web-based tool, which enables publishers to update and add their own data.

Books In Print is the only bibliographic database with more than 8 million U.S. book, audiobook and video titles.  It is widely regarded throughout the publishing industry as the most authoritative and comprehensive source of bibliographic data available worldwide, and has been a trusted source of data in North America for more than 50 years.

About Bowker
Bowker is the world’s leading source for bibliographic information. The company provides searching, analytical, promotional, and ordering services to publishers, booksellers, libraries, and patrons through national and international brands, including: Books In Print®, Global Books In Print®, Syndetic Solutions™, Pubnet®, PubEasy®, PubTrack™, AquaBrowser®, and more. In the U.S., Australia and Puerto Rico, Bowker is also the exclusive ISBN and SAN Agency and a DOI registration agency for the publishing industry. Bowker is headquartered in New Providence, New Jersey, with operations in East Grinstead, England, and Melbourne, Australia. For more company details, please visit www.Bowker.com.

Publetariat Editor’s Note: this story is a reprint of a Bowker press release.

Coming Soon: The Publetariat Vault

As mainstream publishers increasingly look to successful indie books for low-risk acquisitions, aspiring authors who are frustrated by the gatekeeper system of agents increasingly look to indie authorship as a means of proving themselves and their work worthy of a mainstream publishing contract. The only problem is, the most promising indie books are lost in a vast, undifferentiated sea of material. Plenty of indie books sell well and rack up great reader reviews, but only the biggest breakout hits register on publishers’ radar.

The Publetariat Vault is the answer.

Publishing Acquisitions Pros
If there were some way to identify the best-selling, best-reviewed self-published books in any category at any given time, and learn how effective a platform each of those books’ authors have assembled to date, would you want access to that information?

Your boss says she wants a Young Adult thriller, novella length, with supernatural and romance elements, a female protagonist and the option for a series. Finding indie books that fit all these criteria in the Publetariat Vault would be as easy as checking off a few boxes, entering a few keywords and clicking a Search button. Better yet, once you’ve found some likely candidates, you could view their sales ranks (where this information is reported by booksellers), their reader reviews, synopses, excerpts, author profiles, links to the authors’ websites and blogs, and more.

It would be like having a publishing crystal ball. There’s no need to guess at which books will appeal to readers, nor which authors will take an active role in promoting their books, when you’ve got actual sales data, reader reviews, links to author platform pieces and more at your fingertips.

Indie Authors
In an effort to attract publisher attention, you’ve got a fine-looking, well-reviewed, respectably-selling book in print, and you’ve put a lot of time, money and effort into your author platform as well. Unfortunately, publishers haven’t noticed.

If there were a service designed to facilitate publisher searches of indie books, making it easy for them to find books that meet their specific needs, are well-reviewed and selling in respectable numbers, would you want your book to be listed with that service?

Your YA thriller novella with supernatural and romance elements, a female protagonist and the option for a series may be the exact thing some acquisitions person is searching for—particularly in light of your reader reviews and sales figures—, but how will he ever find it? If he doesn’t already know your name or the title of your book, there’s no Amazon, Lulu, Smashwords, or even Google search that will point him to directly to you or your book.

In the Publetariat Vault, he can find your book based on genre, keywords, recommended reading level, protagonist gender, or numerous other specific criteria or combinations of specific criteria. And once he does find your book, he won’t have to scour the ‘net to find all the other pertinent information he needs before deciding whether to contact you to request a full copy of the book for acquisition consideration. He can view everything there is to know about both the book and you in a single location: sales rankings (where this information is reported by booksellers who carry your book), reader reviews, synopsis, excerpt, your author profile, links to your author platform pieces and more.

Any contact or publication offers resulting from your Publetariat Vault listing would be strictly between you and the publisher. It would be up to you to retain a literary agent or attorney for contract negotiations and future services related to your book, Publetariat would have no rights to your material and no stake in the deal. The Vault’s only function would be to bring commercially viable indie books to the attention of publishers who want them.

The Publetariat Vault is now in development, with an anticipated launch this summer. Watch Publetariat for more information and updates, and in the meantime, post your comments and questions about the Vault below.

Jacket Copy Sells Books, So Make It Good.

This article originally appeared in the May 2009 issue of Publishing Trends.

Would you rather read a “splendid, funny, lyrical book about family, truth, memory, and the resilience of love” or a “powerful novel” about “the strength of love and loss, the searing ramifications of war, and the mysterious, almost magical bonds that unite and sustain us”?

A “poignant celebration of the potency of familial love” or “a luminous, provocative, and ultimately redemptive look at how even mothers and daughters with the best intentions can be blind to the harm they do to one another”? More importantly, which would you rather buy?

If any of the above sounds familiar, it’s probably not because you’ve read the book described, but rather because you’ve written more than a few pieces of jacket copy of your own. How important are those little paragraphs on the inside flap of the book’s jacket, and does it really matter what they say? We wanted to find out, so we did what anybody in our situation would do and commissioned a large nationwide study of book shoppers to answer our questions. Well, the Codex Group, whom we worked with on our author website study, were the ones who actually did the study, but CEO Peter Hildick-Smith generously allowed us to tag along and even include titles of our choosing in the survey.

Codex’s Early Read Book Preview measures book and author sales potential based on book shopper purchase interest. The company regularly conducts online polls of book consumers across major fiction and nonfiction book categories. The preview measures their spontaneous “shopping response” to 50 books equally divided between current New York Times bestsellers and titles in development. The jacket copy study took place from March 30 through April 4 and surveyed 7,065 book shoppers nationwide, including 2,362 literary fiction and 1,308 women’s fiction buyers.

The job of writing jacket copy shouldn’t be foisted off on editorial assistants—it is the second most important book purchase factor (after favorite author). “I was heartened to see how much emphasis readers seem to place on real information and details about the story itself,” says Mitch Hoffman, Executive Editor at Grand Central Publishing. Hoffman helped Hildick-Smith with this survey, and the jacket copy for Grand Central’s First Family by David Baldacci scored higher than any other title in the study. “Certainly all these other pieces of ephemera, reviews, bestsellers, endorsement information, they always find that helpful, but the story is the thing. That reinforces an idea I always wanted to believe, that even in the middle of everything else we do, the book is the thing.”

Flap copy is especially important for fiction. And title and cover impact are closely related to the impact of jacket copy. If the flap copy defies the expectation created by the cover and title—if, for instance, the cover of the book leads the reader to expect a thriller but the flap copy identifies it as horror—readers are less likely to buy it.

Read the rest of the article on Publishing Trends.

Debunking Myths About Blogging

This post, from Jan Felt, originally appeared on his Cyber Footprint site on 4/29/09.

I bet you have thought about running a blog at least once; then you decided against it citing at least one (or more) of the reasons below.

Myth #1: “No one will read it anyways.”

You might have given your readership a lot of thought. Or not. Then, in a better case, you might have tried running your own blog for a while and finding out you were right – no one actually read it.

Ask yourself these questions and try to answer truthfully.

  • Did I provide an incentive for the readers to visit my blog?
  • Did I tell my readers something they are interested in / don’t know about?
  • Did the readers feel good after they have read my blog?

If you answered no to at least one question, you know why the readers didn’t come to your blog – your content was not relevant enough to them. To get people to read your weblog you must provide high quality content.

It doesn’t matter whether you are blogging about fashion or market analysis. What matters is when the reader wants to know something about the hottest clothes to wear to a party she turns to your blog, because you provide her with ideas so good she can’t resist trying them.

Morale of the story: write well and learn to market yourself online.

Myth #2: “I don’t get anything out of blogging.”

Yes, we humans living in the 21st century are materialistic beings. If I have nothing to gain, why would I bother to put out some content on the Internet?

Actually, you can make money from your blog. Try looking at AdSense, Text link ads, or Amazon’s affiliate program. These programs provide you with a steady stream of income depending only on how many visitors click on the ads. The best part of this scheme? It works without your presence, so you may be partying and still making money.

In the first 6 months, you will hardly make any profit, but if you won’t give up, chances are that you will be able to make a decent income out of your blogging efforts.

The list above is not at all exhaustive. There are many other ways to make money from the blog and it’s not that difficult to discover them. When your blog starts being influential, I recommend to look at our ethics section.

Myth #3: “I suck at technology, so I can’t blog.”

There is a widespread opinion that in order to blog, the author must understand the technical aspect of the Internet. That’s not entirely true. Check out content management systems like WordPress, Joomla and Drupal. They are easy to use and require very little technical capability to master. And did I mention they are free?

However, to do things justice, there are some knowledge requirements you ought to meet before plunging into blogosphere. You should be at least knowledgeable about what a server, domain and hosting services are and how they work. That might not be easy for a beginner, but in case you get into a trouble, feel free to tell me about it. I will do whatever I can to help you out.

Myth #4: “I don’t have time to blog.”

Being busy studying during the day and working during the night (hope I got the order right) is a hassle. Add some parties, friends and general life to that, and there is a mayhem into which blogging simply does not fit.

That is one of the lamest excuses anyone can come up with. It demonstrates a lack of discipline, which is a rather unfavourable trait nowadays. If you feel that dedicating 20 – 60 minutes per day to self-promotion online is a waste of time, then you are losing a major competitive advantage. Those who care about their online presence will network more easily. Later on, blogging and networking online may transcend even to job offers.

Myth #5: “I don’t have anything to say.”

Are you sure about that one? If you are a university student, young professional or an experienced ‘tiger’ of the corporate jungle, there is definitely something that you are interested in. Do not be afraid to turn your hobby into a focus for your self-promotional, money-generating weblog. Besides, if you are really passionate about your focus, chances are that you will do well.

As you can see now, the discussed myths are not as crucial hindrances to blogging as they seemed to be in the beginning. In conclusion, blogging is easy and the resources you put in are tiny compared to the enormous benefits you get out of this activity. It is certainly worth a try.