Cup of Story

Don't be a waiter

2012

Holy cow it's a new year! When did that happen?! The end of the year just flashed past and now it's January.

There's been a lot of talk about Amazon and now a rumor of Apple starting a self-publishing program has popped up on teh interwebs. I hope the rumor is true and that their program is comparable to Kindle. I also hope that B&N's self-pub'ing program gets a revision, or at least their search for interested readers is cleaned up. More retailers for independent writer-publishers is a good thing. No more waiting around. You can start making money.

1. You can sell your work as soon as you want.
2. You can price your work for as much as you want.
3. You can continue to sell your work for as long as you want.

 

I've heard a lot of excuses: lots of writers moan and groan and say, "But I don't wanna be a publisher, I wanna be a writer!" or "That's a lot of work and I'm already tied up with day job and family and Xbox and websurfing and lolcats and and and..."

The biggest whine I've heard is, "But I want to be a real published author. I want to be taken seriously!" translated to mean, "If I publish my own work, everyone will think I'm a loser because only loooooosers publish themselves."

This excuse always makes me scratch my head. Novelists want to get paid for their work. Why is getting paid directly (more or less) somehow less desirable than getting paid by a publisher? From everything I've heard (and been a part of), the publisher takes a really long time to pay out. And that's if you even get offered a contract. So you're either sitting around waiting to be paid, waiting for a contract, waiting for someone to respond (agent/editor).

You're a WAITER.

If your goal is to get paid for your writing, you are shooting yourself in the foot for not even considering the potential of Kindle/Smashwords/B&N, etc.. Your manuscript in the mail or in someone's In Box or sitting on a shelf or in your drawer is NOT making you any money.

No sale at $0 = $0

3 sales at $2.00 = $6.00

Don't you think your work is better than $6.00? Of course you do, that's why you sent it out to a list of literary agents you hoped might get you a contract from a publisher. If you didn't think it was worth something to someone else, why would you have bothered to send it out in the first place?

I'm not saying that you will become an overnight billionaire with one book on Amazon. But if you don't even try, then I guarantee you won't sell a single copy.

You believe in your writing (you must since you think an agent and publisher should find it saleable), so take control of reaching your own goal instead of waiting for someone else. You are not a WAITER.

You are a writer.

So get cracking and make 2012 your year to make money from all your hard work as a writer!

 

Machine writes story

A trade publisher and sports journalism site are using software to write stories so they can save money on writers.

Here's an excerpt generated from an article:

“Wisconsin jumped out to an early lead and never looked back in a 51-17 win over UNLV on Thursday at Camp Randall Stadium. The Badgers scored 20 points in the first quarter on a Russell Wilson touchdown pass, a Montee Ball touchdown run and a James White touchdown run. Wisconsin’s offense dominated the Rebels’ defense. The Badgers racked up 499 total yards in the game including 258 yards passing and 251 yards on the ground.”

It's seems to have all the facts most people want to know--scores, runs, yardage gained, and players. What's lacking is the human element--the voice. 

I'm not a journalist; I work with fiction writers. But in all the news stories and non-fic articles I've read over my lifetime, there's always a point of view, a human voice relaying information. It's not a listing of facts and figures--there's always a reason behind why that data is relevant to the story (STORY!).

If you want a piece of software to gather data and blurt it out in a more user-friendly way (rather than a spreadsheet or graph), than I can see how this might be useful. But as a means to tell the story of the event or process or historical moment? Not even close to the human element.

 

A meaning behind editor rejections

So you send out your manuscript and you get back a few rejections.

 "It just didn't grab me."

 "Thanks, but not for us at this time."

 "Lovely, but no thanks." 

What could this mean?! Does it have anything to do with your writing? Skill level? Plot, concept? Writers writhe in agony and seethe with the fire-of-unknowing. If editors want writers to be better, why don't editors tell the writers how to make it better so that they'll accept the manuscript and offer a deal?

There are lots of reasons why the acquisitions editor isn't saying anything beyond a noncommittal rebuff.

1. The manuscript was unacceptable for all the reasons writers need to put in their hours.

2. Editors don't have the time to give you a detailed rejection. Their job is to work on books under contract.

3. Editors aren't going to give away expert advice only to see that manuscript walk over to a competitor.  

"It just didn't grab me."  This could mean any number of things. You plot sagged in the middle; laborious pacing; lack of tension; weak concept; weak characters; not the kind of book editor enjoys (fiction is subjective). How do you know which of these things needs improvement?

 a. If your book lacks tension/sags in the middle/has a slow pace, people will stop reading it. They'll skim, they'll put it down. You want them to groan about staying up too late because they couldn't stop reading! Maybe your book needs some work.

 b. If the book is just not in the editor's taste field, there's nothing you can do about it except to fire your agent, who should have known better. That's what the agent is for, which is why having an agent isn't necessarily going to land your book on the right desk. I expressed widely that I was not interested in talking-cat-fantasies. And yet, I still got submissions where a cat was the lead character. Or the heroine had a cat companion who was her "spirit guide" or whathaveyou. See, not for me.

 

"Thanks but not for us at this time."

 a. Could mean the house already has a lot of similar types of stories in the pipeline. A monthly list of the same kind of titles isn't good for a mass market publisher trying to net a wide audience.

 b. Could mean the house already has too many First Time novels. It's very risky to take on too many unknowns.

 c. Could mean the money is tight and no one is taking any risk at all--they're only renewing current contracts with current authors. But they don't want to look like penny-pinchers.

 d. The always wonderful excuse that the editor is overbooked and overworked and just doesn't have the time to spend on stroking another fragile author ego. Editor might just want a low-drama professional to whom she doesn't have to explain every nuance of the business, someone who already knows the process.

 

"Lovely, but no thanks."

 This could be the generic No Thanks. It could include all of the above. Either way, it didn't grab the editor enough to make her go to bat for it. Wowing the editor, grabbing the editor, thrilling the editor--it all means the same thing: the editor doesn't feel strongly enough about it to start the internal process of convincing the rest of her company that it'll make money.

 And let's be honest, sometimes, your manuscript might not be up to standard. You might need a lot more work despite what your agent thinks (again, fiction is subjective). In the end, if you keep getting rejections, you haven't come to a screeching halt. Put your book out in digital format and see how readers feel about it. If it doesn't sell, then maybe it means you need a lot more practice (either in writing or in selling, but either way, you can be in control).

 

More Gatekeeper myth

Mike Shatzkin writes about how writers shouldn't oppose agency pricing.

First, I have a hard time agreeing with Shatzkin's "union" metaphor. Writers aren't paying "union dues". That 15% is compensation earned by the agent for brokering the deal. The writer doesn't pay a dime--the agent works for the writer.

 "It will be easier for authors (through agents) in the future to improve the split than it would be for the publishers to raise prices in the future to get authors more money."

 I agree--if the split for eBook royalties were fair for the authors, then yes, the author would make more money. But why wait for the future? Why aren't agents working NOW for their writers to get a fair return? 

 "But writers will also make less money when there is less to divide, not more. All writers, whether they’re among the fortunate ones that have a publisher pushing them or whether they’re trying to do it themselves, should be grateful that publishers are doing their damnedest to maintain prices and the perception of value for writers’ work."

Sorry, the writers should be thanking the general public for taking the risk the publishers won't. The whole perception that the publisher is establishing the value just points back to the Myth of the Gatekeeper.

The only time I think about the publisher's price is when the eBook costs more than the paperback. That really burns me up. The costs of a printed book are acceptable knowing that the physical item incurs costs--paper, manufacturing, shipping, warehousing, distributing, overhead. The digital format costs labor and overhead. And that's all. To protest that there are more costs is delusional.

 The only time I think about the value a publisher brings to a book I'm considering purchasing is where I can buy it; can I get it at my local store? Oh, wait. They're closing. They never have stock. They don't have the backlist titles I want. They're selling eReaders now instead of paper books. Huh.

 No wonder Amazon is growing.

Once upon a time, the "brand" of the publishers was clear. Editorial direction was cleaner. But not any more. I don't know one reader who complains about a "brand".  They buy the author they like regardless of the publisher. I don't think Stephen King lost fans just because he went from Penguin/Viking to Simon & Schuster. I bet most of them didn't even know it happened.

 Echo chamber. We talk a lot about the industry, and Shatzkin is a smart guy, but the majority of readers don't even know or care that there's a change happening. If we stepped outside and talked to people who just read books (don't write, don't publish, don't edit), all they care about is whether they can find what they like at a price they can live with. At the end of the day, it still boils down to writers reaching readers who will pay. If the publishers and bookstores continue to drag their feet, the writers and their audience will go around them.

 

Amazon vs. bookstores matters to writers

Interesting interview with Mike Shatzkin. It's an audio clip, but take a few minutes to listen. Shatzkin's an in-the-know industry guy, who, according to his bio, has been in the business for a long long time.

It's too bad no one has any solid information on whether or not Amazon is making their ebooks an exclusive to Kindle, which is a deal breaker for B&N (who would like to sell their Nooks), who will not (most likely) sell AmazonPrint (I'm making up this word for sanity's sake) in their stores unless the digital format of those titles are also available for the Nook. So many assumptions and guesses, but there's not really any solid information.

Shatzkin didn't talk about the book distributors like Ingram and Baker & Taylor. They have a stake in the Amazon-->brick&mortar stores, too. Or do they? Will Amazon make deals with Costco and Target direct? Will they make a deal with Kroger foods to get paperbacks into grocery chains? And how about those stores in the airports? Barnes & Noble has a huge chunk of space, but they're not the only ones involved in pushing product. And no one's talked about libraries, which is of interest to readers (let's not forget about all those people who don't have a Kindle/Nook/idevice/home computer), but not so much to sellers, of course.

The thing I'm most curious about is how Amazon's contracts with writers differ from the other big publishers. If they're doing the same type of legacy deals--other than a guarantee for a digital format (and this is only a guess)--then what exactly is the draw for a writer? What's the advantage for a writer to go with Amazon than Random House or Penguin?

If the terms of the deal for a writer is to be seen ONLY on Kindle and in the Amazon store (as a paper copy), wouldn't they be losing out on a bunch of potential sales? As a writer, I'd want my book to be available in as many places as possible including all digital devices (iPad/iPhone, Kobo, Nook, Kindle, some Google or Microsoft or RIM device that hasn't yet been launched--that's another thing; what if some other digital reader comes out that is shinier than the current ones. Will the decision to buy a device be based on the retailer of my favorite author? Once upon a time, I didn't think about whether or not I'd go to B&N or Borders to buy my books. Both places were selling the books at about the same price, so it didn't matter who was selling it, generally speaking).

And if the money flows to the writer, and the sales outlets are diminished (if AmazonPrint books are sold only on Amazon), than wouldn't that be a disadvantage for a writer?

Maybe, in the long run, it doesn't matter. Maybe the order-online-deliver-to-your-mailbox way of getting books is going to become the dominant sales generator. We won't know until Amazon starts to reveal to the public how exactly their printed books will be bought (or unless writers who contract with them start to blab about their contracts or the differences between their deals with Amazon and their other publishers).

Thanks to The Passive Voice for blogging about this.

Writers who know business

Dean Wesley Smith, writer, publisher, teacher. Along with Kris Rusch, he's written a gazillion books across many genres. His Killing the Sacred Cow of Publishing series is MUST READ material if you're considering a career as a writer. There are also some very smart people responding in the comments, so set aside some time to read it all.

Kristine Kathryn Rusch is also a multi-genre writer and teacher. Her Business Rusch series is also chock full of good stuff.

Dean and Kris are good people--straight forward, no-nonsense types with solid business credentials. And they're not all anti-Big 6-publishers that you might hear about in the rising indie world.

David Vandagriff, is a lawyer who blogs about publishing and contracts as The Passive Guy. He's got some very good information and throws out a lot of food for thought.

The best advice I've picked up recently is to keep an open mind about the industry. Things are changing quickly, so the best thing you can do as a writer is to educate yourself about the industry, about what it means for you, and don't sell yourself short by signing a contract you don't really understand (or have been told "it's the standard contract") or by giving up any idea of publishing because you can't land an agent or your agent can't land you a contract.

There are readers out there who are looking for you book. Give them a good story, tell them where they can buy it, and they will come.

Print-on-demand instantly

The University of Washington Bookstore, a great indie place to get books in Seattle, has an Espresso Book Machine. The machine prints books on demand. You plug in the title chosen from their catalog and badaboom! You've got a book.

You want a hardcopy of your own work, maybe to carry with you to show that you're a bonafide writer, and ba-bing! You've got a book.

Okay, so you have to live in the Seattle area to take advantage of this, but think of the possiblities! Kiosks at malls! Little boxes for books at the grocery stores (like a Red Box for books). Neat, huh?

Just write it.

Chuck Wedig has something to say about writing: And that life is too short not to take risks and long to live with an output of weak-kneed, limp-noodled, utterly derivative, safe-as-houses storytelling. Amen to that, amen.

Only thing I disagree with is his nod to it being a big secret. It's not a secret. Writers should always write the story they want to tell, not the one they think will sell. With digital publishing being easy for independent writers to sell their work, it's even less important to think about "market".

Obviously have an audience in mind--you have to think about who will be reading this book because a story aimed at an 8-10 year-old-boy is not going to be the same as the one aimed at adult women. That's just common sense (and you should already know this).

Publishers have other concerns you, as an indie writer, may not have to worry about. You just write. You can even write lots of different kinds of things, if you want. I'd advise slapping on a pen name for something totally different, though, just to keep your brands tidy (and for organizational purposes). Readers who love your cozy mysteries might not be the same ones who like your urban techno fantasies, so make it easy for your audience to find the books they like.

In the end, just do it. Just write what you like.

Alternative marketing for your book

There are some pretty savvy and smart people doing some interesting things on their blogs/sites. You should check them out and consider how you might apply what they're doing to your own site or creative endeavors.

 

"Tobias Buckell is a Caribbean-born speculative fiction writer who grew up in Grenada, the British Virgin Islands, and the U.S. Virgin Islands. He has published stories in various magazines and anthologies. He is a Clarion graduate, Writers of The Future winner, and Campbell Award for Best New SF Writer Finalist."

Buckell writes some neat stuff. He's also got some interesting and informative stuff to say about writing, self-publishing, and traditional publishing on his blog. You can download a sample of Crystal Rain (among others) right from his site.

Long ago the old-fathers came to Nanagada through a “worms hole” in the sky, looking for a new world to call their own. But that was many generations ago, and what was once known has long been lost. Steamboats and gas-filled blimps now traverse the planet, where people once looked up to see great silver cities in the sky.

Like his world, John deBrun has forgotten more than he remembers. Twenty-seven years ago, he washed up onto the shore with no memory of his past. These mysteries take on new urgency when the fearsome Azteca storm over the mountains, in search of fresh blood and hearts to feed their cruel inhuman gods.

Nanagada’s only hope lies in a mythical artifact said to be hidden in the frozen north. And only John deBrun knows the device’s secrets, even if he can’t remember why or how!

A free sample of your book is a great way to hook new readers! He provides RTF and .pdf format, so you don't even need a unique device.

 

Holly Black's The Curse Workers series is teencentric and simply awesome. 

Cassel comes from a family of curse workers — people who have the power to change your emotions, your memories, your luck, by the slightest touch of their hands. And since curse work is illegal, they're all mobsters, or con artists. Except for Cassel. He hasn't got the magic touch, so he's an outsider, the straight kid in a crooked family. You just have to ignore one small detail — he killed his best friend, Lila, three years ago.

I'm linking to the site becasue of the video about the book. Does it make you want to read the book? Viviane Hebel made jewelry and accessories based on the books, which you can find on this site. So consider these different types of marketing for your book.

 

 

 

Eric Nylund has written a bunch of science fiction including a super popular prequel based on the super popular HALO video game (which is a pretty darn good game). He's also written a bunch of other sf novels, too, and a fantasy novel. All while holding down a full-time day job. The Resisters is his latest.

Twelve-year-old Ethan Blackwood has always known exactly what he wanted—to win the state soccer championship, get into the best high school, and become an astronaut. Then he meets Madison and Felix, who tell him something . . . insane. They claim that 50 years ago, aliens took over the Earth, and everyone past puberty is under their mind control. Ethan doesn’t believe it. But then he sees for himself the aliens’ monster bug robots and the incredible way that Madison and Felix have learned to fight them. So Ethan Blackwood has a choice: he can go back to his normal, suburban, protected lie of a life—or he can become a Resister. This is science fiction on the lines of Scott Westerfield and Cory Doctorow for middle graders.

He had a book giveaway contest. He gave away a copy of all his books to the winner who blogged about the release of his latest novel. Now that's using the "He told two friends, and he told two friends" method. When it comes to marketing, getting your fans to spread the word can't hurt.

There are all kinds of different ways to get the word out about your book, but it seems obvious that having a web presence of some kind is pretty darn easy. So tuck this away in your noodle for when the time comes and keep your eyes open for other attention-grabbing ideas on your favorite authors' blogs.

 

 

 

Where do I find a bookcover?

You've finished your novel and are ready to throw it up on the etailer of your choice (or you're not finished, but you're gathering intel for when you do finish). You need a cover. So where do you find one? Traditional publishers have designers who hire artists. So, go look for an artist.

 

This is Megan Romo's work. She's designed these images based on books (and plays, etc.).

 
It's pretty neat although for your purposes, you might want to have her bump up the title font and of course, add your name.

I found her on Imagekind where lots of artitsts sell their stuff. There's also deviantart. Find what you like and then email the artist. Make a proposal. Ask about their rates. Start a conversation. They might have ideas you never thought about, especially if they're a digital artist and understand how to design for Amazon or iBooks (have you seen how horrible print covers look in a little rectangle--muddy, illegible, messy).

If you like the artist on your paperbooks, then go find his website. Send him an email. You never know who you might be able to afford--besides, lots of those artists are nice people and have students, so if you can't afford them (or they're already booked up to their ears), they might recommend someone else.

You're buying art to use on your book, so be clear about what it is you're doing and be prepared to compensate. I'd consult with an IP lawyer who handles stuff like this to be professional about your offer and to know what you can and can't do, y'know all that rights stuff. It will make you a better negotiator and you won't look like a jerk.

Or get your camera and start taking pictures. No one said it had to be fancy, just avoid designs like this: 

 
Can you read the text? Neither can I. The image itself isn't bad and when it's shrunk down to the little .75"x 1", the colors were eyecatching. But still, not the best cover. Doesn't tell me anything, so I skip right on past it.

 

 

Can you read this title? Or anything at all? Me neither. I go on to the next one.

 

 

The color could be better (that's my subjective taste), but the title is clear and the image makes me think, "I get it. Coffeeshop. Heart. This is a romance or at least will have romance in it, and I'm looking for romance, so I'll click on it." Which is what you want browsers to do! They will read your fabulous blurb, download the sample chapter, and then click the BUY button.

I sized these images small; they're smaller than what you see on Amazon, but you get the gist. Just keep this in mind when you're ready to upload you books. Start looking at covers and be aware of what makes you click. What did you like? What didn't you like? What did the image tell you about the book--was it the picture, title, colors that gave you this information? Have you started to see a pattern? Are they printed books or digital only titles? Look back at your digital library--what covers are on the books you purchased? (Throw out titles of authors you already know or bought because of their name, we're only looking at covers right now). What are your conclusions?