Tuesday, June 30, 2009

DRACULA THE UN-DEAD RECEIVES ITS FIRST REVIEW, A RAVE, FROM www.sherlocksbooks.com!

Dracula The Un-Dead
As chance would have it, I acquired an Advanced Reader Copy of this title at the Book Expo in New York where I was fortunate enough to meet the author and get my copy signed.

After reading Dracula The Un-Dead yesterday, it is unlikely I will lend or relinquish my copy to anyone. They will simply have to buy their own! Generally everyone knows my tastes run to horror and sci-fi so this fits perfectly in my immense library at home. I was eager to read this upon my return to Nashville after the book show since I've been a fan of the original Dracula since my childhood (when it scared me nearly to death). This volume by the great grandnephew of Bram Stoker has to be one of the best sequels I have ever read in my life! It easily makes the top ten of world's best sequels ever written. I read it in virtually one sitting as the plot unfolded and could not put it down.

The story follows the aftermath of the original Dracula twenty five years later when all of the parties have now gone their separate ways. Unbeknownst to them, a much darker evil intent on murderous revenge begins hunting them and their offspring. Once again we meet Van Helsing, Mina and the rest of the characters in an intriguing mix of personalities and utterly gruesome malevolence. What is even more remarkable than the plot is the method in which the authors intertwine facets from the original Dracula (and Bram Stoker's own personal notes) into a time period 25 years hence.

The authors take slight liberty with the original novel's date in order to make their novel take place in 1912. Not a big deal but one of which you should be aware. Remarkably, usage of this date allows them to gather together a complex series of real historical events and persons including the Titanic, Jack The Ripper, setting of the London-Paris air speed record and famous stage actors such as Henry Irving and John Barrymore. Even the original author, Bram Stoker, makes an appearance!!! I urge both fans of the original and newcomers to read this book. Our store will be keeping this one in stock for sure. Now if I can only get a signed copy when the real one comes out around Halloween. Stephenie Meyer look out... Steve Guynn Sherlock's Book Emporium http://sherlocksbooks.com/

Visit the Dracula the Un-Dead website.

Monday, June 29, 2009

RAINY DAY BOOKS KEEPS THE SUN SHINING [via Laurie Dressman]

Bookstores fight to survive latest plot twists

When Vivien Jennings got into the book business in 1975, people still went to the neighborhood bookstore to buy a book.

Her Rainy Day Books, which at the time was just a paperback exchange, was one of some 30 bookstores in the Kansas City area.

That was before national superchains began an aggressive building boom; before big-box stores such as Costco appeared, selling books at steep discounts to lure customers; and before Amazon.com turned books into an online phenomenon.

Today, Rainy Day Books in Fairway is considered the only general-market independent bookstore left in Kansas City, and the store, like other surviving “corner bookstores” across the country, has had to become a lot more than a paperback exchange to keep the doors open.

In Kansas City and elsewhere, the centuries-old book-selling business is in the midst of a plot twist that has left it on less-than-sure footing. Not only have independent bookstores closed, big chains are stumbling while online sales are booming and technology advances present more looming challenges.

For booksellers of all shapes and sizes, competition is fierce, not just from the Internet, but from changing lifestyles, shrinking amounts of leisure time and shifting attitudes about books.

“We’re getting information in different ways,” said Will Leathem, co-owner of Prospero’s Books, a used bookstore on 39th Street in Kansas City.

In this day and age, he said, selling books can be equated to “being a buggy whip salesman five years after Ford rolled the first Model T off the line.”

Muddying the waters even more is the rise of electronic books. Though still a tiny part of the market, these computer-based books are growing in popularity.

Publishing giant Random House saw a 400 percent increase in e-book sales last year and plans to beef up its catalog of e-books to include more than 15,000 titles by the middle of this year.

Already, big trade publishing houses are seeing up to 1 percent of their sales come from electronic books, while some smaller publishers are seeing even higher percentages. As the Amazon Kindle, an electronic reading device, and cell phone applications evolve, e-book sales are expected to explode.

Booksellers could easily be bypassed in e-book transactions, said John Mutter, editor of the online newsletter Shelf Awareness, which tracks the book industry. He asked: “With e-books, how do bookstores make sure they’re in the loop?”

Independent decline

Kansas City’s book landscape has changed dramatically.

The independent stores have mostly gone away. Whistler’s in Westport, one of the last independents, closed in 1997. Rainy Day Books now shares the independent scene with Reading Reptile, a children’s bookstore in Brookside, and I Love a Mystery, a specialty store in Mission.

That’s three — plus several used and religious bookstores — compared with 30 that belonged to a local independent booksellers association when Jennings entered the business in the mid-1970s.

“Many communities have lost their community bookstores,” Jennings said.

Nationally, the American Booksellers Association, a trade group that represents independently owned stores, has some 1,500 members in 2,000 retail locations, compared with 4,000 members in 6,000 retail locations at its peak in the early 1990s.

Between 1994 and 2004 so-called superstores, many owned by Barnes & Noble and Borders Group, expanded across the country. The chains often opened megastores right down the street from independent bookstores.

Sunday, June 28, 2009

AEI CLIENT DENNIS PALUMBO’S LATEST HUFFINGTON POST COLUMN ON HATE SPEECH

Following Obama's recent address in Cairo, Rich writes, "It was a prominent former Reagan defense official, Frank Gaffney, not some fringe crackpot, who...claimed that the President---a lifelong Christian--- 'may still be' a Muslim and is aligned with 'the dangerous global movement known as the Muslim Brotherhood.' Gaffney linked Obama by innuendo with Islamic 'charities' that 'have been convicted of providing material support for terrorism.'"

What's so disturbing about Gaffney's remarks is that, as Rich points out, he's not "some fringe crackpot." But, like some other GOP leaders---and practically every commentator on Fox News, particularly Glenn Beck, Bill O'Reilly and those silly twits on the network's morning show, "Fox and Friends"---he might as well be. Not only are these prominent people and their ilk giving "aid and comfort" to America's lunatic fringe, they're fanning the flames of hatred.

None of this is news to anyone with access to a radio, TV or the Internet. What is news, however, is the unchecked level of rancor, and the seeming lack of interest in how this wave of hate-speech may well contribute to more tragedies like the recent shooting at the Holocaust Memorial Museum.

After all, a case could be made that Bill O'Reilly's relentless attacks on Dr. George Tiller contributed to the atmosphere that spawned his unrepentent assassin. As Rich reminds us, O'Reilly called the doctor "Tiller the baby-killer...likening him to Nazis, on 29 of his shows before the doctor was murdered at his church in Kansas."

No wonder there's a growing concern among responsible citizens that the similar, increasingly acrid commentary and criticism leveled at the Obama administration might very well put the president in mortal danger.

As a therapist, I see daily the fear and frustration caused by uncertainty about the future and the changes it may bring---socially, culturally and financially. However, my patients---indeed, the vast majority of people---work hard to address their concerns with a healthy perspective, and to develop the kind of flexibility necessary to be a viable part of that future. They adapt, change and grow. That's what being an American has always been about. It's one of our nation's greatest strengths.

But a strident handful of Americans don't see it that way. As Rich goes on to write, these people "are irrationally fearful of the fast-moving generational, cultural and racial turnover Obama embodies---indeed, of the 21st century itself."

As research has demonstrated time and again, when people feel threatened by change they don't comprehend, they retreat to the dubious comfort of simple, demonizing slogans and reactive beliefs. They nurse imaginary grievances, give rein to paranoia, and blame all their unhappiness on "the other," on those who are different than themselves.

One likes to imagine these people living in relative isolation, without exposure or access to the larger society. The unsettling reality is that now they have their own shows on right-wing talk radio, or on cable news programs, or in myriad blogs. They're noted people who guest on Meet the Press, give interviews to national newspapers, and hold leadership positions in major political parties.

In other words, like other pandemics, the rhetoric of hate is spreading from the fringes to the mainstream. And, to give Frank Rich the last word, "it is getting louder each day of the Obama presidency. No one, not even Fox News viewers, can say they weren't warned."

Friday, June 26, 2009

FURTHER OBSERVATIONS ON SELF-PUBLISHING [via Ron Weaver]



Self-publishing a book: 25 things you need to know

by David Carnoy


I know, I know. This is a column about cutting-edge electronics. So, apologies to gadget-heads as I take a brief sojourn into the land of self-publishing, which has become a lot more high-tech than a lot of people realize.


The reason I'm here is that I have a book. A novel. Knife Music. Contrary to what you might think based on my day job, it's not a cyber-thriller, though it is a mystery/thriller with a medical/legal slant.


Its short history is this: I worked on it for several years, acquired a high-powered agent, had some brushes with major publishers, then, crickets. Way back when, say, a dozen years ago, a single editor could acquire a book, but today a whole board is usually required to sign off on a project, especially when a big advance is involved. Worse yet, the traditional book-publishing business has fallen on hard times, with layoffs and news that vaunted old publishers such as Houghton Mifflin have literally put the freeze on acquisitions. In short, it's ugly out there, particularly for new fiction writers.


I could have tried to go for a small publisher, but I was told mine was "a bigger book" with more commercial aspirations and prestigious small publishers were interested in more literary tomes. I also learned that many small publishers were being wiped out by the "self-publishing revolution," a movement that's not so unlike the "citizen journalism" or bloggers' revolt of recent years that's had a major impact on mainstream media, including this publication. The basic premise is anyone can become a small publisher. You call the shots.


You retain the rights to your book. And you take home a bigger royalty than you'd normally get from a traditional publisher--if you sell any books.


Against the advice of my agent, I began perusing the big self-publishing companies' Web sites and evaluating what they had to offer. Then I started poking around blogs and message boards to get customer testimonials. What I found was a veritable minefield with roads that forked in every direction and very few clear answers.


After much deliberation, I chose BookSurge, a print-on-demand (POD) outfit that Amazon owns along with the more no-frills POD operation CreateSpace (why Amazon would confuse shoppers with two competing services is beyond me, but that's another story).


BookSurge and CreateSpace are considered subsidy presses or author-services companies.


The key to these companies--and why POD is hot--is that books are printed only when someone orders a copy; neither author nor publisher is forced into buying a bunch of books and having to hawk them.


Royalties are better than what "real" publishers offer, but there are caveats, and true self-publishing pros prefer to cut out the subsidy press (which takes a cut) and go straight to a POD printer like Lightning Source to maximize profits. But I was less concerned about making money from this venture and had my rationale for choosing BookSurge.


Many argue--and I agree--that Amazon's shrewd CEO Jeff Bezos is leveraging his company's position as the largest bookstore in the world to corner the market for print-on-demand, electronic publishing (Kindle), and completely shift the paradigm for publishing. Well, I thought, since BookSurge is a lynchpin in this strategy, why not get a first-hand look at what the 800-pound gorilla is pushing.


While you're going to hear a lot of comments about BookSurge, this column isn't about a specific self-publisher. It's about what I've learned along the way and what I picked up from other people who've also self-published. As always, feel free to add your own comments, which I may incorporate into the list as I update it.


1. Self-publishing is easy.

Here's how it works. You choose a size for your book, format your Word manuscript to fit that size, turn your Word doc into a PDF, create some cover art in Photoshop, turn that into a PDF, and upload it all to the self-publisher of your choice and get a book proof back within a couple of weeks (or sooner) if you succeeded in formatting everything correctly. You can then make changes and swap in new PDFs.


After you officially publish your book, you can make changes to your cover and interior text by submitting new PDFs, though your book will go offline ("out of stock") for a week or two. BookSurge charges $50 for uploading a new cover and $50 for a new interior.


Lulu offers very good, detailed instructions for the DIY crowd, doesn't require any upfront fees, and is very popular as a result. Ironically, I used Lulu's how-to content to put my book together for BookSurge, which has very poor instructions for DIYers. Interesting stat: Lulu claims to publish an average of 4,000 books a week. Oddly, the company didn't offer the size of the book I wanted to create (5.25 x 8 inches--the standard size for trade paperback novels; Lulu only offers 6 x 9, which is too big).


2. Quality has improved.

I can't speak for all self-publishing companies, but the quality of Booksurge's books seem quite solid. You can't do a fancy matte cover (yet), but the books look and feel like "real" books. The only giveaway that you're dealing with a self-published book would be if the cover were poorly designed--which, unfortunately, is too often the case.


3. Some of the more successful self-published books are about self-publishing.

I don't know what this says about the industry, but it's probably not a good thing. I didn't read any books because I was busy scouring the Internet, but there are a few that appear to have some useful information. However, take everything with a grain of salt because things change quickly in self-publishing and analysis of the industry tends to attract a lot of qualifying statements. As Mark Levine notes in a "sample" review of his The Fine Print of Self-Publishing, "Will BookPros provide a service that is $20,000 better than anyone else in this book? If your book takes off, then yes. However, if your book isn't very successful, you may not think so." In another noteworthy book, Stacie Vander Pol takes a stab at ranking top performing POD self-publishing companies based on sales performance. I'd like to see this stuff on a free website rather than a book. But that's just me.


Note: April Hamilton, the author of IndieAuthor Guide, is offering a free HTML download of her book to readers of this column. I don't agree with all her points, but her guide has a lot of useful information, particularly for DIYers.


4. Good self-published books are few and far between.

Because the barrier to entry is so low, the majority of self-published books are pretty bad. If I had to put a number on it, I'd say less than 5 percent are decent and less than 1 percent are really good. A tiny fraction become monster success stories, but every once in a while, you'll hear about someone hitting it big.


5. The odds are against you.

The average self-published book sells about 100-150 copies--or 2/3 to 3/4 of your friends and family combined (and don't count on all your Facebook aquaintances buying). I don't have a source for this statistic, but I've seen this stated on several blogs and as a Publishers Weekly article titled "Turning Bad Books into Big Bucks" noted, while traditional publishers aim to publish hundreds of thousands of copies of a few books, self-publishing companies make money by publishing 100 copies of hundreds of thousands of books.


6. Creating a "professional" book is really hard.

Barrier to entry may be low, but creating a book that looks professional and is indistinguishable from a book published by a "real" publishing house is very difficult and requires a minimum investment of a few thousand dollars (I'm up at around $5,000 right now). You wonder why "real" books take 9 months to produce--and usually significantly longer. Well, I now know why. It's hard to get everything just right (if you're a novice at book formatting, Microsoft Word will become your worst enemy). And once you've finally received that final proof, you feel it could be slightly better.


7. Have a clear goal for your book.

This will help dictate what service you go with. For instance, if your objective is to create a book for posterity's sake (so your friends and family can read it for all eternity), you won't have to invest a lot of time or money to produce something that's quite acceptable. Lulu is probably your best bet. However, if yours is a commercial venture with big aspirations, things get pretty tricky.


8. Even if it's great, there's a good chance your book won't sell.

If your book is really mediocre, don't expect it to take off. But even if it's a masterpiece, there's a good chance it won't fly off the shelves. In other words, quality isn't a guarantee of success. You'll be lucky to make your investment back, let alone have a "hit" that brings in some real income. Don't quit your day job yet.


9. Niche books do best.

This seems to be the mantra of self-publishing. Nonfiction books with a well-defined topic and a nice hook to them can do well, especially if they have a target audience that you can focus on. Religious books are a perfect case in point. And fiction? Well, it's next to impossible. But then again, the majority of fiction books--even ones from "real" publishers--struggle in the marketplace. That's why traditional publishers stick with tried-and-true authors with loyal followings.


10. Buy your own ISBN--and create your own publishing house.

If you have market aspirations for your book, buy your own ISBN (International Standard Book Number) and create your own publishing company.

(Credit: www.isbn-us.com)


Even if you go with one of the subsidy presses for convenience sake, there's no reason to have Lulu, BookSurge, CreateSpace, iUniverse, Xlibris, Author House, Outskirts, or whomever listed as your publisher. For $99 (what a single ISBN costs) and a little added paperwork, you can go toe-to-toe with any small publisher. Lulu.com sells ISBNs. BookSurge does not. I bought mine at RJ Communications, which also provides author services. The complete list of sellers is here.


11. Create a unique title.

Your book should be easy to find in a search on Amazon. It should come up in the first couple of search results. Unfortunately, many authors make the mistake of using a title that has too many other products associated it with it--and it gets buried in search results. Not good. Basically, you want to get the maximum SEO (search engine optimization) for your title, so if and when somebody's actually looking to buy it they'll find the link for your book--not an older one with an identical title.


12. Turn-key solutions cost a lot of money.

You've written your book and God knows you'd like to just hand it off to someone, have a team of professionals whip it into shape, and get it out there. Well, there are a lot of companies that will offer to make just that happen--and do it in a fraction of the time a traditional publisher could. But those "packages" range anywhere from a few thousand dollars to upwards of $25,000 for the deluxe stuff at BookPros with some marketing/PR extras rolled in. (BookPros says it's selective and aims to take on books that it thinks will sell).


These folks can potentially put together a really nice book for you. But I've also heard a lot nightmare stories where people come away disappointed with the process and feel ripped off. Read this interesting interview with iUniverse CEO Kevin Weiss. Then read the comments in the comments section. You'll catch my drift.


13. Self-publishers don't care if your book is successful.

They say they care, but they really don't care. You have to make them care.


14. Buy as little as possible from your publishing company.

Self-publishing outfits are in the game to make money. And since they're probably not going to sell a lot of your books, they make money by selling you services with nice margins. That's OK. Some of the services are worth it--or at least may be worth it. In an experiment, I've invested in BookSurge's Buy X, Get Y program that pairs your book with an Amazon bestseller. While it's pricey--it's normally $1,000 a month, but during a special sale, I bought 3 months for the price of two--and may not help you sell all that many books, it does put your thumbnail image in front of a lot of people. (I've participated in the program for three months and while I'm still trying ascertain how effective it is, one things seems clear: You get the most benefit from being paired with a book that's in the top 25. In the two months that I had a very high-ranking book, I felt I had some success with the program--and it was worth it at the price I paid. However, $1,000 seems a little too steep, especially if you don't get a great pairing. I'll offer further updates in the future.)


Personally, I'd never work with BookSurge's in-house editors, copy editors, and in-house design people. That doesn't mean they're bad at what they do (I've seen some covers that are well done). But if you can, it's better to hire your own people and work directly with them. Ideally, you should be able to meet with an editor, copy editor, and graphic designer in person--and they all should have experience in book publishing.


Buy X, Get Y: Pairing your book with a bestseller isn't cheap.

(Credit: Amazon)


15. If you're serious about your book, hire a book doctor and get it copy-edited.

OK, so I've just told to avoid "packages" from publishers and yet I'm now saying you need editing and copy-editing. So, where do you go? Well, before I sent my book out to agents, I hired a "book doctor" who was a former acquisition editor from a major New York publishing house (like most editors he worked at a few different houses). He happened to be the father of a friend from college, so I got a little discount, but it still wasn't cheap.


However, after I'd made the changes he suggested, he made some calls to agents he knew and some were willing to take a look. His name is Jerry Gross and he's part of Independent Editors Group (IEG), a group of former acquisition editors who take on freelance editing projects for authors.


While I didn't use his copy editor (I used a friend of a friend who currently works at a big publishing house), he and other editors in his group can suggest people. To be clear, this isn't going to be a better deal than what you'd get from a package deal with a self-publisher, but these people are experienced and are going to be upfront and honest with you. They're not just pushing your book out to move it along the line on the conveyor belt, though they are trying to make a living. (Warning: They don't take on all writers).


By no means is IEG the only game in town. There are plenty of good book consultants out there, including Alan Rinzler, who has an excellent blog and straddles the line between being an executive editor at an imprint of John Wiley & Sons and providing services to private clients. I expect that as the publishing industry contracts further, you'll see more editors--and former editors--becoming guns for hire.


Note: I had the added advantage of my agent being a former editor at a publishing house. So, he was able to suggest changes that made the book better (alas, not good enough to entice a "real" publisher into buying it).


16. Negotiate everything.

BookSurge and other self-publishing companies are always offering special deals on their various services. There isn't whole lot of leeway, but it doesn't hurt to ask for deal sweeteners--like more free copies of your book (they often throw in free copies of your book). It also doesn't hurt to ask about deals that have technically expired. In sales, everything is negotiable. Remember, these people have quotas and bonuses at stake. (For their sake, I hope they do anyway).


17. Ask a lot of questions and don't be afraid to complain.

BookSurge charged me $300 to join the BookSurge club so to speak. Companies like Lulu and CreateSpace have complete DIY options and require no upfront setup fees. That's great, but when you're dealing with a superbasic package, you're most likely going to be doing customer support via e-mail or IM, which I don't love. I want to be able to call up and bitch (in a nice way, of course) directly to a live person on the phone and I'm happy to pay an extra $300 for that privilege (which is really the only thing you're getting for $300).


I will say this: The customer service at BookSurge has generally been great. You can't always get through to your sales rep, marketing rep, or customer service reps right away (yes, the company is very regimented), but they do get back to you pretty quickly and all my issues have been resolved within a day or two.


18. Self-publishing is a contact sport.

The biggest mistake people make when it comes to self-publishing is that they expect to just put out a book and have it magically sell. They might even hire a publicist and expect something to happen. It's just not so. You have to be a relentless self-promoter. Unfortunately, a lot people just don't have the stomach or time for it--which is part of the reason I anted up for BookSurge's Buy X, Get Y program, which is essentially a form of advertising.


What's the secret to marketing your book successfully? Well, the first thing I advise--and I'm not alone here--is to come up with a marketing plan well before you publish your book. The plan should have at least five avenues for you to pursue because chances are you're going to strike out on a couple of lines of attack. It's easy to get discouraged, so you have to be ready to move on to plan c, d, and e (and the rest of the alphabet) pretty quickly.


These days there's a lot of talk about a "blog strategy" and many well-known authors do virtual book tours where they offer up interviews to various blogs. You probably won't have that luxury, but you can certainly research what blogs might be interested in your book and prepare pitches for them. There are local media angles to pursue, organizations to approach, and all kinds of out-of-the-box gambits you can dream up. None of this will cost you a whole lot--except time and perhaps a little pride.


Then there's the stuff you pay for. And it's tricky to judge what's a good investment and what's not because the results vary so much from book to book. A friend of mine who has a "real" book from a traditional publisher experimented recently with placing $1,000 in Facebook ads targeted to people in "cold" states (his book is called the History of the Snowman and it does very well around Christmas). He's still trying to figure out what impact the ads had, but Facebook does have some interesting marketing opportunities. Google AdWords/Keywords is another popular option.


The author MJ Rose has a marketing service called AuthorBuzz that caters to both self-publishers and traditional publishers. She says the best thing for self-publishers is a blog ad campaign--it starts at $1500 for a week of ads (the design work is included) and heads up in increments of $500. She says: "We place the ads in subject-related blogs, not book blogs. For instance, if it's a mystery about an antiques dealer, we don't just buy blogs for self-identified readers--who are not the bulk of book buyers--but rather I'll find a half dozen blogs about antiques, culture, art and investments and buy the ads there and track them." Rose claims she can get your book in front of at least a half a million people with that initial investment. She also says that you can't really spend too much, you can just spend poorly. I agree. However, I can't tell you what impact a week or month of ads on blogs will have on your specific book's sales. There are simply too many variables.


Bonus tip: When it comes to self-promotion, there's a fine line between being assertive and being overly aggressive in an obnoxious way. As one friend told me, the state you want to achieve is what she likes to call "comfortably tenacious."


19. Getting your book in bookstores sounds good, but that shouldn't be a real concern.

You may have always wanted to see your book in a bookstore but bookstores aren't keen on carrying self-published books and it's extremely difficult to get good placement in the store for your book so chances are no one will see the three copies the store has on hand anyway.


Furthermore, your royalty drops to 10% on in-store sales. Some of the self-publishing outfits offer distribution through Ingram. BookSurge offers it through Baker & Taylor. BookSurge says: "Your trade paperback book will be available for order through Baker & Taylor on a non-returnable basis. For an additional yearly fee, your book can be made available through Baker & Taylor on a returnable basis with our Baker & Taylor Returnable Program. You'll receive a 10% royalty on all wholesale book orders purchased through Baker & Taylor."


Note: A while back I had a nonfiction book published by a traditional publisher, Faber & Faber. My local Barnes & Noble in New York had three copies of it. It felt good seeing it on a shelf--for about 10 minutes.


20. Self-published books don't get reviewed.

Yes, it's true. It's very hard to get your self-published book reviewed--and the mantra in the traditional publishing world is that reviews sell books. But eventually that will change. People didn't take bloggers seriously at first and now they do. And what's interesting is that reputable book reviewers such as Kirkus are offering special reviews services geared toward self-published authors. The author pays a fee to have the book reviewed (around $400-$550, depending on the speed) and a freelancer writes an objective critique (yes, they do negative reviews) in the same format as a standard Kirkus review--except the review must be cited as a Kirkus Discoveries review. I expect more companies to go this route to expand revenue streams.


21. Design your book cover to look good small.

(Credit: Amazon)

Traditional book publishers design--or at least they used to design--a book cover to make a book stand out in a bookstore and evoke whatever sentiment it was supposed to evoke. Well, with Amazon becoming a dominant bookseller, your book has to stand out as a thumbnail image online because that's how most people are going to come across it. If you're primarily selling through Amazon, think small and work your way up.


22. If you're selling online, make the most out of your Amazon page.

I'm a little bit surprised by how neglectful some self-published authors are when it comes to their Amazon product pages. I've talked to self-published authors who spend a few thousand dollars on a publicist and their Amazon product page looks woeful--and they've barely even looked at it. I ask, "Where are people going to buy your book?" They don't seem to realize how important Amazon is. True, some people market through a Web site or buy Google keywords to drive traffic there. But you need to have your Amazon page look as good as possible and take advantage of the "tools" Amazon has to help you surface your book ("Tags," Listmania, reader reviews, etc.). It may not have a major impact, but it's better than doing nothing.


One tip: Make sure your book is put into five browsing categories (it's only allowed 5). It helps to categorize your book to readers and also will make your book look better if it's a bestseller in those categories. No one at BookSurge suggested this to me; I had to figure it out on my own. (Again, they don't care, you have to make them care).


The manifestation of categorizing your book.

(Credit: Amazon)


23. Pricing is a serious challenge.

The biggest problem with going the POD route is that it costs more to produce one-offs of your book than it does to do produce thousands. I can buy my book--it's a paperback--from BookSurge for $5.70. It's about 370 pages. Now, if I went ahead and had the thing printed up directly through an off-set printer--and ordered a few thousand of them--I could probably cut the cost of the book in half, and maybe even a little more. But I'd have to pay the upfront fee to buy the books and then I'd have to figure out a way to sell them (this is how vanity presses used to work--you had to agree to buy a few thousand books).


Amazon sells my book for $14.99 (It stared at $17.99 but I've managed to get BookSurge to whittle the price down by $3). BookSurge royalty rates seem to be standardized: authors get 35% of the book's list price. You can also sweeten the pot by becoming an Amazon affiliate: if customers buy the book through the Amazon affiliate link (say, on an author-produced website that advertises the book), that's an additional 7% in the author's pocket.


Those are actually quite good royalty rates (interesting article here) in the world of subsidy self-publishing. But the fact is, to compete against top-selling titles from traditional publishers my book should be a little cheaper (I barely beat the hardcover prices of bestsellers). Some of the other subsidy self-publishers seem to have a little more flexibility with price setting on Amazon, but BookSurge appears to have a better overall rate of return compared to the likes of Lulu, iUniverse, and Xlibris. In other words, if I was using Lulu and I set my selling price at $15.99 on Amazon, I'd make less money. (Lulu.com touts its own online store, which is well designed and has a big audience, but--compared to the Amazon juggernaut--I have my doubts you can sell a lot of books there).


As I said, I've generally had a good experience with BookSurge and have been pleased with the service. However, the one thing that I truly resent is how my book is priced on Amazon. There's no discount on it! Every book from every "real" publisher has a slash through the list price and then there's the Amazon price. On mine, the list price is the price.


That's not cool, Mr. Bezos. I mean, if BookSurge needs to set a price floor to hit certain margins, set the list price higher, put a slash through it, and put the street price at a buck or two less and give the author the royalty on the street price. That way, the book looks like every other book and the buyer thinks he or she is getting some sort of discount. That's important. As it is, I guess I'm looking at sort of an Apple pricing model, where the list price is the street price. I should note that there is a chance my book might get discounted--but it's dependent on an Amazon algorithm that kicks in when you hit some sort of milestone that remains shrouded in mystery.


To be fair this is not a BookSurge problem exactly, it's more of an Amazon/BookSurge synergy problem and a database issue.


24. Electronic books have potential, but they're still in their infancy.

Once you have your book finalized in a Word or PDF file, it's relatively easy to convert it into one of the many ebook formats--or just offer it as a download as a PDF. There are several epublishers geared to "indie" authors, including Smashwords (good list of others here) and many ebook-oriented blogs. I like the concept of HarperCollins UK's Authonomy, which is designed to discover new talent--but it's more geared toward trying to get a traditional publishing contract.


In terms of ebook readers, Amazon's Kindle and Sony's Reader line have the biggest audiences (BookSurge charges $299 to turn your book into a Kindle ebook--that's a little pricey, considering you can find other parties to convert it correctly, formatting tweaks and all, for less). But a lot of people are looking toward the iPhone and iPod Touch as a potentially interesting market for ebooks because there are so many of them out there (see CNET TV's Molly Wood's related video here). For self-published authors, I see all these electronic avenues as ways to reach a larger audience quickly, but I don't see anybody getting a ton of downloads unless you're willing to sell your ebook very cheaply or give it away. There are exceptions, of course, but self-published ebooks present more of a supplemental marketing opportunity than a way to make big bucks.


25. Self-publishing is a fluid business.

Self-publishing is a rapidly evolving industry with lots of competitors that are constantly throwing out new information. Publishers are continually upgrading their facilities, infrastructure, and pricing, and what I--or other pundits say today--could be wrong just a few months from now. Last year, BookSurge was only offering 25 percent royalties on books. This year, it's 35 percent. What does next year hold in store?



http://reviews.cnet.com/self-publishing/

Thursday, June 25, 2009

SCREENWRITING SEMINAR

THE SECRETS TO A GREAT SCRIPT! SET YOUR SCREENPLAY UP FOR SUCCESS!

WRITE A KILLER SCREENPLAY IN SIX WEEKS!

with Award-Winning Screenwriter & Playwright

JIM MCGRATH

TWO DAYS TO CHOOSE FROM:

Wednesday, June 17th, 2009: 7pm–10pm
OR
Saturday, June 20th, 2009: 12pm–3pm

in Los Angeles, Westside location


Get the KEYS TO THE PROCESS – in one evening session!

Ever get halfway through a screenplay and realize you have no idea how to finish?
Have you strewn the world with unfinished screenplays?

It’s because you didn’t do the first two VITAL steps right.

The vital first two steps are the INVISIBLE PART OF WRITING! Successful writers live and die by those first two steps. Amateurs don’t know them, and therefore they find it impossible to complete a coherent and compelling film script that looks professional and is a great read!

In one evening session, I will take you through those two vital steps. I will help you ignite the fuse on the most exciting creative adventure there is.

If you create the right beginning, I’ll make sure you don’t stop until you’re done.

Show up with nothing and leave with a fully developed movie in your head, that can fly right out of your fingers and onto the pages!

Yes, you too can write a screenplay in six weeks! I’m not talking about an adaptation of a novel, a rewrite of an existing work, or a short subject. I mean an original feature film screenplay – starting with nothing, and ending as a fully developed feature length script.

Please bring with you a one page pitch of your screenplay idea, as well as the genre you think it fits into.

ABOUT THE INSTRUCTOR:

Ovation award-winning playwright Jim McGrath is the screenwriter of Laughing Louis, a mini-series for HBO, and Silver Bells, the highest rated television movie of 2005. He is also the writer for multiple episodes of numerous television series such as Mike Hammer, Simon & Simon, Matlock, The Father Dowling Mysteries, Elvis: The Early Years, Wishbone, Liberty’s Kids, and many others.


SPECIAL DISCOUNT FOR INFOLIST.com

Mention INFOLIST.com in the comment section when you make your payment to register for the class, and get ONE THIRD OFF!! That's just $40 (normally $60!) for a 3 hour class that gives you the Keys to the Screenwriting Process.

TO REGISTER:

Be sure to mention INFOLIST.com http://www.InfoList.com in the Comment Section when you make your payment, and be sure to include WHICH DATE you wish to attend (June 17th or 20th) – simply log in at www.PayPal.com and send your $40 payment to ActingOrganics@yahoo.com.

Seating is limited, so don't wait to Register!
For questions, please contact:: ActingOrganics@yahoo.com
For more information on the instructor: http://actingorganics.com/Bios/JimMcGrathBio.html