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Archive for the ‘publishing’ Category

With the world seemingly wreaking its global vengeance on us economically, emotionally, and physically with this wretched disease, Covid-19, it is no surprise that many writing markets and contests have also vanished into that black void of loss. (And this sentence has too many ‘w’ words.)

Photo by Edwin Hooper on Unsplash

Every country and each demographic has felt the pain of the economic devastation. Entire regions shutting down in an effort to slow the spread. Scores worldwide left jobless and businesses closed. Lives turned upside down and lives lost.

For our own sakes, we must cling to what normalcy we can. We must not lose sight of the passions that drive us into tomorrow.

With that, I present an ongoing list of writing markets and contests I am working on.

I am checking and updating links, removing markets with dead links and that appear to be defunct, clinging to hopefuls (ie. I’m hopeful they will return), and will add new markets and contests as I learn of them and when I can.

The intent of this listing is to be inclusive. Suggestions of additions are welcome (share them in the comments of this post).

This is my first experiment with Google Docs, so please bear with me. I am creating and posting this in Google Docs so, hopefully, a wider range of readers can access and open both the document and its links.

Here is the list of writing markets and contests. Keep reading and writing, my friends.

MARKETS & CALLS FOR SUBMISSIONS – JULY 2020 –

 

 

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If you look inside the front matter of any published book you will find an ISBN number. If you don’t know, ISBN stands for International Standard Book Number.

 

The ISBN has nothing to do with copyrights. It simply is a catalogue number. If you are looking for a particular book, you can search it by its ISBN (catalogue) number.

 

An ISSN – International Standard Serial Number is the same thing as the ISBN, but is for periodical publications (ongoing series), such as magazines or a book series. You didn’t know you needed that for your book series? That’s okay. Not all books start with the intent of making them a series. With the wonders of technology, some sites will still link your series as belonging together. Just fill out that “series” box.

 

Now, if you’ve self-published with Amazon KDP, you might find they assigned you an ASIN instead of an ISBN. Oh, the horror. What have they done?

 

The ASIN (Amazon standard Identification Number) is the same thing as an ISBN, a catalogue number, only it is specific to Amazon. So, it only shows up in Amazon’s market. If you are publishing both a print and eBook at the same time, they will likely give the eBook an ASIN that is the same as the ISBN. Still, only the print book version with the ISBN will show up in ISBN searches outside of Amazon’s marketplace.

 

The EAN (European Article Number) should not be confused with an ISBN, ISSN, or ISIN. The EAN is a barcode. Think of it as the same thing as the others, but for products that are not books.

 

 

 

Breaking Down An ISBN – International Standard Book Number

The ISBN is broken down into parts.

 

  • EAN – Bookland country code. Apparently books live in a world of their own separate from ours called “Bookland”.  In the land of books, this identifies what country the book comes from.  Luckily for us non-book beings, the numbers also coincide with the countries of our own world.

 

  • Group – identifies the language the book is written in

 

  • Publisher – identifies the publisher of the book (aka the person or business who filed the ISBN number for the book)

 

* oddly enough, it seems that when a publisher exhausts its block of ISBNs, instead of receiving an additional block with the same publisher identifying number, they are given a new identifying number for the new block of ISBNs.

 

  • Title – identifies the book title

 

  • Check Digit – this is akin to a spell check for the people assigning ISBNs. If this number is not what they are looking for, then an error was made.

 

 

If you are being published with a publisher, they will look after your ISBN needs. However, if you are self-publishing, you need to do this yourself. And, you will probably need multiple ISBNs for each book.

 

 

Photo by Annie Spratt on Unsplash

Why do you need multiple ISBNs for one book?

Because each format is a separate catalogue item. Every place you upload your book to sell, every print on demand printer, every eBook distribution, is a separate catalogue listing. Every ‘version’, i.e. trim size, paperback vs. hardcover vs. eBook, vs. audio book, is a separate catalogue listing. Every change that affects the description and quality of the product, like trim size or doing revisions to the book beyond fixing a few typos, creates a new catalogue item.

 

Think of it this way, each of these is a different catalogue item:

  • Print book on Amazon KDP
  • eBook on Amazon Kindle
  • Print book on Lulu
  • McNally Robinson pod printer
  • IngramSpark/Lightning Source
  • Kobo books

 

Also, each of these is a different format; therefore each is also a different catalogue item:

  • Paperback book
  • Hard cover book
  • Audio book
  • eBook mobi
  • eBook epub
  • Other eBook formats
  • Large print book
  • You uploaded your book in a new trim size
  • You uploaded a new edition (2nd edition, 3rd, etc)

 

 

 

Photo by Kelly Sikkema on Unsplash

Getting an ISBN is not difficult. And, depending where you live, you might have to pay for it.

 

If you live in the United States, you have to buy your ISBN. ISBN’s are sold by a commercial company.  (They are cheaper in bulk!) After getting your ISBN, it is up to you to have it registered with RR Bowker, the US database for the ISBN agency.  www.bowkerlink.com

 

One of the things many large US based self-publishing companies like Draft 2 Digital, Smashwords, and Amazon KDP does to encourage authors to publish with them is they buy up mass volumes of bulk ISBNs and provide them free to authors and publishers publishing with them. Of course, that only applies to the book listed on their service. You still need ISBNs for anywhere else you upload your book to.

 

Photo by Ryan on Unsplash

The wonderful thing about being in Canada is that FREE ISBNs is one of the little ways the Canadian government supports the arts.

 

To get your ISBN visit the Library and Archives Canada website and create an ISBN Canada Account.

Once you have your ISBN Canada Account you simply login to request and update ISBNs. There is no cost for this service.

 

Once you have your ISBN and have published your book, it is recommended you submit copies of your books to the Legal deposit program with Library and Archives Canada (read the article on that for more information).

 

L. V. Gaudet Books:

Do you know #WhereTheBodiesAre?
Disturbing psychological thriller

Learn the secret behind the bodies.
Take a step back in time to meet the boy who will create the killer.

Everyone is looking for Michael Underwood. HMU picks up where the Bodies left off, bringing in the characters from The McAllister Farm.

Sometimes the only way to stop a monster is to kill it.

 

 

 

 

 

 

 

 

 

 

 

 

 

The Garden Grove project is a hotbed for trouble. Who wants to stop the development?

They should have let her sleep. 1952: the end of the paddlewheel riverboat era. Two men decided to rebuild The Gypsy Queen.

12 years ago four kids found something in the woods up the old Mill Road. Now someone found it again.

 

 

 

 

 

 

 

 

Vivian Munnoch Books (and Roxy the photobomb):

 

They heard noises in the basement.

They thought it was over. Then Willie Gordon disappeared.

It started with a walk in the woods … on a stupid boring no electronics and thank you very much for ruining my life camping trip. Madelaine’s life will never be the same.

Roxy aka The Big Dumb Bunny

 

 

 

 

 

 

 

 

 

 

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Photo by Clay Banks on Unsplash

Registration Deadline: 1 May 2020

Sign up for the program or register new titles and editions. Registration runs Feb 15th to May 1st.

 

The Public Lending Right (PLR) Program sends payments annually to creators whose works are in Canada’s public libraries. Check out their website for more information on eligibility, payments, and to register: https://publiclendingright.ca/

 

 

The Dry on the PLR:

The PLR (Public Lending Right) Commission was established under the Canada Council for the Arts (CCA) in 1986 to oversee the PLR program.

 

The PLR Commission is an elected body of writers, translators, librarians and publishers working together with non-voting representatives from the Canada Council for the Arts, Department of Canadian Heritage, Bibliothèque et Archives nationales du Québec, and Library and Archives Canada. (Read the article on ISBNs to learn more about what Library and Archives Canada does).

 

‘Public Lending Right’ is your right as an author to be paid for free public use of your works in libraries. The basis of payment varies, but more than 30 countries around the world have PLR programs. In Canada, an annual survey is done one titles in public library catalogues. Payments to authors are based on the presence of their title(s) in the survey results.

 

 

Photo by Chris Spiegl on Unsplash

The Juicy News on the PLR:

As a writer, you worked hard on what you’ve had published. It’s only right to want fair compensation for that work. Libraries that stock your writing, whether it is in print or eBook, are lending it out free to multiple users who don’t need to buy it to read it. That translates to lost sales for you in the name of providing free public access to hundreds of potential readers.

 

 

This is what is behind the US libraries’ boycott of Macmillan Publisher’s new eBook releases. Basically, because more library lending equals more readers who do not have to buy the book to read it, Macmillan sought to boost initial sales of new eBook releases by limiting the number of copies libraries can buy and lend out in the first 8 weeks after a new eBook is released. Now that was a mouthful. Macmillan has been trolled and vilified for what boils down to an economic business decision. The nerve of them wanting to make sales revenue on their investment to the detriment of faster access to that new release to all those readers not paying for it.

 

I get both sides of that argument. If I want it, if I’m excited about it, I want it now. I don’t want to wait 8 weeks to get on a waiting list to get it. And if I don’t have to pay for it, I win. Heck, most of my adult life I couldn’t afford to buy books new. I still can’t afford to fill my reading needs with the prices publishers charge. I live on books I can read free (leaving a review is an excellent way to give back to the author for that!), reduced price books, and used books. At the same time, taking a risk on that book, on that author, and publishing a book is a substantial investment for publishers. Just because it’s an eBook does not make their costs inconsequential. And it is a business. They are not producing books out of the kindness of their hearts. They have overhead and staff wages to pay. And their investors want to earn money on their investment. And, that’s not even including compensation for the author’s time. Okay, let’s get back on topic…

 

 

This is where the Public Lending Right (PLR) Program comes in.

Photo by Jaredd Craig on Unsplash

You write the book. Whatever means you take, it gets published. Libraries buy it, or maybe you donate it to a library. All those people borrowing it from the library, reading it without paying for it, are sales that won’t happen. They probably wouldn’t have bought it anyway, but they are getting to enjoy your book and you get no compensation for that.

 

Wrong. The PLR is another small way our government supports the arts. You sign up, and if your book(s) comes back in their annual library survey, you get paid compensation for the potential loss of sales from those library books.

 

Registering is not a guarantee. And they need to verify your book(s) eligibility. Libraries need to actually stock it and then it has to be picked up in the annual survey. Then you get paid.

 

It might not be enough to cover all potential lost sales earnings, but it’s something. And in today’s book market, there are no guarantees on how those sales will go.

 

 

 

 

L. V. Gaudet Books:

Do you know #WhereTheBodiesAre?
Disturbing psychological thriller

Learn the secret behind the bodies.
Take a step back in time to meet the boy who will create the killer.

Everyone is looking for Michael Underwood. HMU picks up where the Bodies left off, bringing in the characters from The McAllister Farm.

Sometimes the only way to stop a monster is to kill it.

 

 

 

 

 

 

 

 

 

 

 

 

 

The Garden Grove project is a hotbed for trouble. Who wants to stop the development?

They should have let her sleep. 1952: the end of the paddlewheel riverboat era. Two men decided to rebuild The Gypsy Queen.

12 years ago four kids found something in the woods up the old Mill Road. Now someone found it again.

 

 

 

 

 

 

 

 

Vivian Munnoch Books (and Roxy the photobomb):

 

They heard noises in the basement.

They thought it was over. Then Willie Gordon disappeared.

It started with a walk in the woods … on a stupid boring no electronics and thank you very much for ruining my life camping trip. Madelaine’s life will never be the same.

Roxy aka The Big Dumb Bunny

 

 

 

 

 

 

 

 

 

 

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What is Lulu?

Lulu Press, Inc. (Lulu.com) is a U.S. based print on demand printer and book distributor for electronic books, print books, and calendars. It is used by self-published authors and small presses.

 

Is it a ‘vanity press’? No. Lulu press, Inc. is a legitimate provider of services to small presses and self-published authors.

 

Is it cost effective to publish with Lulu? That depends. Their pricing model is based on the size of the book and volume of the order. Like other PODs, the printing cost per book is calculated on a minimum base rate plus a cost per page. So, with equal trim sizes, a 325 page book will cost more to print than a 300 page book. As the author/publisher, you can order copies for yourself to slog around stores and book events with to sell face-to-face. Like Amazon KDP, they charge a reduced publisher rate to you. You are not paying the retail rate you set for copies of your own book. Lulu does have bulk order discounts. They are more expensive than Amazon KDP for your printing cost per book if you are ordering smaller  print runs, but the good news is a search of those fabulous online click-bait coupon sites will probably produce a coupon code to reduce the cost. Comparing costs of Amazon KDP to Lulu, I only order books through Lulu if I have a coupon code. Otherwise, with shipping, the higher cost would eat up most of my small profit margin on face-to-face sales. (I use Couponfollow.com).

 

What does it cost to upload my book to Lulu?  Nothing. Like other POD and distribution companies, they do have service packages you can buy if you want someone to do the work for you. I’ve seen mixed reviews on these. But if you do the work yourself, there is no cost to upload your books to Lulu.

 

But I want to buy Canadian and/or publish Canadian. Lulu is a U.S. company. However, being in Canada you would be going through the Lulu Canada store. Those books are printed in a facility in Ontario, Canada.

 

Does Lulu distribute the books to brick and mortar stores? Yes and no. Your book (eBook or POD print) must meet all of the distribution requirements in order to be available for sale beyond the Lulu online marketplace. This includes being one of the eligible trim sizes. If it’s available only on the Lulu marketplace then people can buy your book only through the Lulu site.

 

Why is my Lulu book only available on Amazon and Barnes & Noble, and not in any brick and mortar book stores? Because, under Lulu’s globalREACH program, you met the distribution requirements for those two online stores. Maybe you did not meet all the requirements for the global distribution program, leaving you with limited distribution. Also, globalREACH creates a listing with the Ingram Book Company, making it available to book stores to order it. But then it’s up to the book stores to actually order it. There is no guarantee they will and Ingram’s catalog is massive.

 

Photo by Webaroo.com.au on Unsplash

Photo by Webaroo.com.au on Unsplash

Do I need an ISBN to publish with Lulu? Yes. Lucky for us, ISBNs are free in Canada and easy to get. You also need a different ISBN for each copy of your book. I.e.) you need a different ISBN for the book published through Lulu from the book uploaded and published through Amazon KDP (Amazon will provide ISBNs, Lulu does not).

 

Can I just upload my Amazon KDP book and cover files to Lulu?  No. While your trim size and page count don’t change, the dimensions of your book spine will. You will need to redo the cover. This is because Lulu uses a lighter weight gauge of paper (thinner paper), so trim and page count being the same, your book will be thinner.

 

How is the quality of Lulu print books?  I’ve heard mixed reviews. As with any POD printer, there can be variations from batch to batch. After all, they are completely resetting the printer for every print batch run for every customer. Some swear by their quality. Some have reported issues with the spine glue in the heat. I found covers that are lighter with more colors work better, but mostly black glossy covers did not hold up to minimal handling. The cover finish on black glossy covers rubbed off, marked easily, and chipped just transporting them carefully packed to and from book events, leaving the books unsellable. Amazon KDP books stand up better to transporting them to sales with the dark glossy covers.

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Photo by Maddi Bazzocco on Unsplash

Photo by Maddi Bazzocco on Unsplash

It’s the start of the new calendar year. Are you going into it wondering if you are ready to publish? Convinced you are definitely ready? On the fence?

 

Wherever you are sitting on that question, moving from writing and editing to publishing is a big step. So, what if you are ready? What do you do now?

 

First, is to make sure you really are ready to take that next big leap.

 

 

 

If you are writing shorter projects: articles, short or flash fiction/nonfiction, poetry, etc.; you will likely find the rules on readiness for publishing less strict for some publications. Check their requirements before sending your piece in. And if it does not say otherwise, assume they want articles that are complete and edited to perfection, although that does not mean they won’t ask for revisions. Fiction submissions usually need to be completed work.

 

 

Photo by hannah grace on Unsplash

Photo by hannah grace on Unsplash

If you are writing a full length book, it’s going to take more work to make it ready for publication.

 

Pitching to a publisher with a book idea in the expectation of getting an advance to then write the book is almost certainly going to leave you lying flat in the depths of rejection. Unless you are Paul Sheldon (author of the Misery series in Stephen King’s 1987 novel Misery, made into a movie of the same name), or some other movie or book character, this is unlikely to result in a contract.  Big name authors with a track record of best sellers may score that advance based on an idea they haven’t written yet, but for the rest of us this is not how it’s going to work.

 

Whether you are writing fiction or nonfiction, your best option is to send that advance-seeking pitch to an agent, not a publisher. A small publisher may indulge you with a smile and nod, but they are unlikely to sign a contract for an unseen unwritten manuscript by an author whose work they don’t know. And, if you want to get in with the big publishers, you need an agent.

 

As an unknown or little known talent, your best option is to write the book first, perfect it, get it edited, and then pitch it. This way potential publishers and agents can see the quality of your writing.

 

 

Photo by Hannes Wolf on Unsplash

You wrote a book, but is it ready to publish? The answer to that is the answer to this question: is it edited to perfection? It is not enough to write a book. It needs to be written well, to hook and pull the reader in, make them yearn for more with the ending of each page. Editing and developmental errors can ruin this and your chance of being signed on with the publisher.

 

The book market is rife with editing mistakes from the big name authors at biggest publishing houses down to the smallest self-published author. They happen. People edit and people are fallible and let’s be real here, writing and editing a book are huge undertakings. You also don’t really know how much that publisher is actually investing in paid editing, so you want your book as perfect as you can make it before you submit it. Heck, I was published with a small press who claimed to have a paid editor. I suspect their editor was more fictitious than my characters; at least they have some form of life breathed into them through the pages of the books.

 

What kind of editing do you need?  All of them.

 

Photo by Makarios Tang on Unsplash

Photo by Makarios Tang on Unsplash

The four main types of book editing are (in the order they should be done):

 

1) Developmental Editing: This is a structural and developmental edit of . . . everything; including a critique of the essential elements of the story: plot, story structure, setting, timeline, characterization, pacing, and of course, presentation and marketability. You may have already rewritten your manuscript in whole or parts before this, but be prepared to have it stripped down to basics. You may do so again after the beta readers have read it and given you feedback. This is where you might find yourself re-ordering or rewriting events and chapters, reimagining characters, tweaking your story arc, and other major revisions. This will include line editing, copy editing, and proofreading, but does not replace those necessary steps afterwards. With the revisions that will be done, you will still need the following editing steps.

 

Note: at this point you should have or be enlisting beta readers to give you feedback on your story. You may have to go back to the developmental editing on parts or all of your book after their input.

 

2) Line Editing: Line by line edit focusing on the flow, tone, and style of writing. The goal is to clean up unnecessary verbosity, tighten sentences, and fix awkward sentences and paragraphs for readability.

 

3) Copy Editing: Essentially it is text editing. This is a word by word edit to find and correct spelling, punctuation, grammar, language, syntax, typos, etc. This should be done after you are satisfied with the story structure, plot, settings, characterization, and so forth, and have no further changes to the story.

 

4) Proofreading:  The final editing of the book ‘proof’. This is the last look at the print ready book proof before publication to catch any missed typos and formatting gaffes.

 

 

Photo by Ivars Krutainis on Unsplash

Photo by Ivars Krutainis on Unsplash

Your book is perfect. Now what? Now that you have let beta readers at your book and have done further revisions and had all the forms of editing done and maybe done again, your book is ready to publish. Now you need to decide how you want to publish. For some, the old school large publishing house is the only way they want to go. Others prefer the total control of self-publishing. There are also the in-betweens; small publishers, Indy presses, and hybrid options.

 

1) Large publishers. These are the ‘you need an agent’ publishers. They typically do not take unsolicited manuscripts, and by solicited that means coming from an agent who has already vetted the author and their book as something that publisher might be interested in looking at. They also are more likely to expect an instant best seller and less likely to settle for anything less. You write the book, and they put in all the expenses to publish it and take the risks of whether or not it will make money.

 

2) Independent presses are publishing companies that operate solo. They are not part of or operating under the umbrella of a large multinational or conglomerate corporation. These can be large or small publishing companies.

 

3) Small press. The title basically describes what they are. These are smaller independent publishing businesses. They don’t have the large finances behind them, which also increases the risk of them going out of business in the tough world of book publishing. They are unlikely to offer an advance and that’s okay, because an advance is borrowing against future royalties you have not yet earned. It also means they don’t have the same corporate weight in getting your books into bookstores as the larger presses do. The good news is that you don’t generally need an agent to query them on your behalf. Small presses are usually quite happy to discuss publishing contracts directly with the author and are more likely to take a chance on an unknown author or book that does not fall neatly into the mainstream popular market. Like the bigger publishers, they pay the expenses and take the risks, but you are likely to sell fewer books.

 

4) Hybrid publishing occupies the space between traditional publishing and self-publishing. It runs in various models and is called by different names. Hybrid publishing is a newer variation on the publishing business and can involve a larger publisher, independent or not, or smaller publisher. Whatever you want to call it, the premise is that it is a hybrid of traditional and self-publishing; a cooperative agreement between the author and publisher that involves some financial investment from the author. The author has to pay for some of the services to get their book published, generally in exchange for a higher percent of the royalties. The author will also have more control over their book than under a traditional publishing model. This should not be confused with a ‘vanity press’, a term for a predatory company preying on the author’s need to be published (considered ‘vanity’ long before modern marvels like computers and typewriters made being a writer easier).

 

5) Self-publishing is the do-it-yourself of publishing. This is all on you. The author is solely responsible for all the costs and risks of getting that book published. You are your own publisher. There are a lot of services out there available for everything from the four types of editing to typesetting and formatting your files for uploading both to print book and eBook. There are artists and stock photos, and the cover designers to make them into your book cover for you. You are also on your own to market your book or hire a company to market your book for you. Self-publishing authors often utilize POD (print on demand) tools and/or eBook publishing. Self-publishing is your most costly option as far as monetary investments go. It is also probably the hardest to find success at, since you don’t have the name of a known publishing house behind you.

 

 

Whatever publishing route you choose, make sure your manuscript is one hundred percent perfect and do your homework. Research the publisher or service you are planning to use. Look for reviews, Better Business Bureau complaints, and anything good or bad online. Check out the covers of their other books to make sure they look like professional quality covers. How easily found are their books? Are they professional in their dealings with you? And above all, never sign a contract without being one hundred and ten percent sure of it. If you are unsure of the publisher or the wording or a contract in general, the online writing community is an invaluable source of help. So is hiring a publishing contract lawyer.

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Photo by Thomas Kelley on Unsplash

Co-owners of ChiZine Sandra Kasturi and Brett Savory have stepped down as publisher and managing editor of ChiZine. The new interim publisher is Christie Harkin.  From what I can tell her primary function will be to attempt to pay as much money that is due where it is due, to the best of her ability to sort that out. Where ChiZine will go from here is yet to be seen.

 

Chizine is (was) a Canadian press (quote direct from their about page):

“World Fantasy, British Fantasy, and Bram Stoker Award-winning ChiZine Publications publishes the same kind of weird, subtle, surreal, disturbing horror, science fiction, and fantasy that ChiZine.com (the webzine) had become known for since 1997, only in longer form—novels, novellas, and short story collections.”

 

I have read varying views on what actually happened to ChiZine. Not being on the inside of this controversy, I am refraining from making assumptions. (I have had my own experience with failed small presses). Google at the moment is filled with a lot of angry posts from ChiZine contributors, attempts by the owners of the publication to explain, as well as both those in support of and against them. I will leave that to you to make your own judgements.

 

The literary world is rife with publications that fail for varying reasons. It’s a tough and fickle business and, reasons for ChiZine’s downfall aside, High Fever Books is only one of those walking away from doing business with ChiZine.

 

The controversy tearing ChiZine apart, and you can easily find and read for yourself the many views on its source causes, boils down to contributors and others (editors, cover designers, etc) who are not only unhappy, but are absolutely furious, with not so recent developments involving the publication’s communications and inability to pay them, among other claims.

 

Whether someone will be able to pick up the pieces and successfully rebirth ChiZine is open to speculation. As some have said, it may be better they go quietly to sleep while another publication takes up the reigns of weird, subtle, surreal, and disturbing story publication in Canada. We certainly could use more Canadian markets for these stories.

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Photo by Aliis Sinisalu on Unsplash

Starting November 1st a number of large libraries in the US have begun boycotting Macmillan Publishers, suspending all electronic book purchases from them. The same day was the start of Macmillan’s library embargo, the limitation of public libraries and consortium to the purchase of a single copy of new e-book releases for eight weeks from the date of publication.

 

Libraries, in collaboration with partners in the Digital Downloads Collaboration, are fighting back against this limiting of access to a segment of society that may rely on libraries for access to literature in all its forms.

 

In an open letter, Macmillan’s CEO John Sargent said that a surge in e-book borrowing circumvents the assumed obstacles to free access to library books, ie transportation to and from the library and the requirement to physically return the book. Apparently he feels the digital age of e-borrows threatens the economic value of the books they invest in by making them more easily available to those who borrow them at no charge. In what could perhaps be categorized as an attempt to offset this restriction, Macmillan sells libraries perpetual access to the e-books they purchase and cut the price to libraries.

 

Publishing a book is not a costless undertaking by any means, so minimizing losses will be on every publisher’s to-do list. Meanwhile, libraries and their like are in the business of making books accessible at no or minimal cost to their members. Two sides with opposite takes on the situation who have not yet come to an agreement both are happy with.

 

Looking from the outside in are the writers, who naturally want to be paid for their blood, sweat, tears, and very souls they put into writing those books, and those who do rely on libraries for access to literary enrichment they cannot afford to buy at retail prices.

 

We are yet to see how this standoff will play out.

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Photo by Raphael Rychetsky on Unsplash

As an author one of your jobs is endless self-promotion.

 

I did my first ever book bog tour. I mean a real tour, not one where your publisher sends your book to all of two fellow authors in their stable to review it and calls it a tour (yeah, this did happen). This, despite having my first short story published in an in-print anthology in 2009. (I’m not counting the multiple E-zine flash fiction and short stories), and my first book published in 2014 by that same Indy publisher, followed by another. (Wow, it feels so much longer ago than that!) And, I’ve been writing for a lot longer than that.

 

It was kind of terrifying. Okay, a lot terrifying. 62 book bloggers over 30 days received complementary copies of my 4-book series to blog and/or review at their discretion.

 

Photo by Belinda Fewings on Unsplash

 

To add to the, ‘will they hate it,’ fear, I’m not entirely a conventional writer. I’m not a follow the traditional rules write to the long established scripted standards kind of author. I don’t conform to the status quo, the norms; the overall expectations of, ‘This is how it has always been done, so this is how you have to do it,’ mindset. I don’t obey the, ‘This is the currently popular style/person so you must do it too.’ Literary art, to me, is not meant to be kept in a tidy box of expectations.  (And, those expectations are expanding with the volume of Indy and self-pubbed books.)

 

 

 

 

 

Book blog tours is only one of the ways to try to get the attention of the readers at large in the hopes they will be interested enough to buy your books.

It is important to note here that people who manage book blog tours do not generally do it purely out of the generosity and kindness of their own hearts. Book blog touring is a paid service. While the bloggers and book reviewers are not paid (their only compensation is the free book), the tour manager will charge you a fee, and the rates will vary.

 

 

Photo by Estée Janssens on Unsplash

My book blog tour was a fail and I’ll tell you why. Predominantly, in going through each blog or Facebook page after their scheduled posting date, almost every one was like skimming through those Facebook groups of endless self-promotion. You know the ones, where countless authors hopeful and desperate seeming plug themselves in a never-ending stream of self-promotion posts that nobody looks at. Few of the authors posting on these groups take the time to scroll through the other advertisements, fewer still with the goal of finding something to buy. I doubt anyone else even looks at them.

 

 

The other problem was the genre. You need to sing to your target audience. Can you imagine Alice Cooper or Ozzie Osborn stepping on to the stage and belting out lyrics to a crowd who bought tickets to Michael Bublé or Beyoncé? As Alice would croon, “Welcome to my nightmare…”

 

Photo by Katie Montgomery on Unsplash

The blogs that signed up for the tour were mostly populated by streams of “book tour” advertisements for romance. Yes, romance. I write dark fiction; thrillers, dark mystery, psychological thrillers, drama with dark twists, not so cozy mystery with an underlay of you guessed it – darkness. I have not to date tried writing a dark romance. Frankly, I don’t think I could write a romance. Romance and dark fiction tend to appeal to very different kinds of readers.

 

I did get some positive comments on my book covers, even a few on the books’ write-ups. And I got one review so far from the 62 blogs. Do I expect to see any sales from it? It’s possible. Just because there was no uptick in sales during the 30-day tour, doesn’t mean no one who saw or participated will buy. Some buy later. I don’t think it’s likely, though; romance and thriller being unlikely crossover genres.

 

The comments were also generally from the bloggers themselves posting on the blog tour operator’s blog. They already got complimentary copies, so they aren’t going to buy the books. If a book farts in the woods and nobody hears it, will they buy it? There seemed to be little, if any, traffic outside those bloggers to any of the blogs.

 

 

Photo by Dorian Hurst on Unsplash

Can a book blog tour be successful?  Yes. The question is, ‘How?’ It’s about following basic rules of marketing.

 

Find your audience. If these were blogs featuring thrillers, horrors, suspense, mystery, and other related genres, odds of sales would have been driven up exponentially, assuming anyone reads the blogs.

 

Traffic is necessary. I suspect blogs that feel like Facebook groups of endless self-promotion ads with nothing else to offer probably get just as much meaningful traffic: little to none. You need blogs that pull traffic in, that have meat and potatoes and lactose free/gluten free/vegan-loving poutine (if such a thing exists). What you need are blogs the people who might read your book are interested in what they have on the blog menu.

 

 

Incentives are helpful. People love to feel like they got a deal. Thus, the giveaway. I gave away a couple of small Amazon gift cards and a few free copies of an eBook I was not trying to drive sales on in the book tour. If it was a short tour, I might have offered a discounted sale on the books.

 

Be inclusive and try to make friends. You want people to want to buy your book, and to make it as easy for them to do it as you can. Remember, everyone who might buy is your friend.

 

Personal touch is important. Self-promotion is not just about immediate book sales. It is also about building your author platform and growing your hoard of followers, some of whom will buy your books – eventually. More followers can be gained by being personable and engaging with them than standing behind a smokescreen plugging ads at them.

 

Be seen.  If nobody knows you exist, you don’t, right? Kind of like that Schrödinger-styled tree that may or may not have made a sound when it fell in the forest. Your marketing needs to hit as many eyes as you can, but not literally. This is not A Christmas Story or the Addams Family.

 

 

Photo by elizabeth lies on Unsplash

How the book blog tour works is that the tour operator puts out a call for bloggers to sign up. Once the signups are complete, the bloggers are scheduled to blog on certain dates. It could be a blog, Facebook blog page, or other online site.  The bloggers get a complimentary copy of your eBook(s).

 

You fill out an author Q&A interview and/or write up some short guest blog posts to be shared with the bloggers.

 

On their designated day, the blogger puts up the blog post. It could be a cut and paste of the book tour info (all but one did this on my tour), they could post the relevant information and pictures with their own personal narrative introducing it, or they can post a book review.

 

Ideally, you want each blog post to be unique. Pre-written author interview Q&As or guest posts from you are key here. So is regular active participation from the bloggers, rather than blogs filled with empty cut and paste advertisements.

 

You visit each blog and make comments thanking the blogger and responding to any comments left by anyone else. Again, be personable and try to make friends.

 

Sit back and hope for sales, and don’t forget to tip your waiter/waitress.

 

 

 

Other ways to self-promote your self and books include, but are not limited to:

– Book and/or author website/blog is discoverable on internet search engines

– Social media. Be social online and blog.

– Newsletter/email subscriptions (ie Mailchimp).

– Category choices and keywords for your book sales listings and Google searches.

– First appearances. Your cover needs to make them want to pick it up.

– Book promotion. Pay for some outside promotion help.

– Give it away FREE! Allow free download of the first 10%-20%, free short/flash fiction.

– Book events. Set up author signing tables and schmooze, sell, and sign.

– Have some swag. Give away business cards and bookmarks.

– Submit to eZines, magazines, and anthologies featuring short stories and flash fiction.

– Get mentioned in local newspapers and newsletters.

 

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I’ve been with the same publisher for some years now.  Through thick and thin, and a rebranding from Second Wind Publishing to Indigo Sea Press.  They took a chance on me, a complete unknown with no experience in the world of writing and publishing.

They edited and formatted my books, while I continued to focus on writing and marketing.

Now, as the publisher is revisiting another major change with a restructuring of their business model, I found myself again with the choice of what to do now.

As an author, there is only one way to go with your writing, and that is to improve.  It doesn’t matter how good you are, there is always room to improve on yourself.

Research is key to opening the world of writing.  Researching little details in your stories to make them pop more, pulling the readers in with those tidbits and keeping them real.  Researching writing, editing, and the publishing world in whole and in parts.

The old saying “practice makes perfect” never gets old, even for someone like me who believes there is no such thing as true perfect.  It doesn’t matter how many times I edit a piece; I will always find something to change. Even if it is written by a well-known famous author, and it doesn’t mean there is anything wrong with it.  I’ve just spent so many hours editing that my mind automatically looks for things to change and attempts to improve on whether it needs improving or not.  Art is subjective and writing is an art form, making its valuation subject to the views of each individual.

A great deal of practicing writing is, of course, a given.  Your writing talent is in a state of constant flux as you improve.  Your voice evolves.  My writing now is different from that first published book.  And from the second.  I find my voice is different with the different feel of my stories.  If I lose passion for a story, the story loses its luster and the voice falls flat.

 

So what to do when your publisher is changing their business model and you have the choice to opt in or out?  To each the choice is their own.

For me, I chose to take advantage of the opportunity to revisit old friends.  Freshen up and perhaps rewrite sections of my books. Make them better, since my writing is better.

I know, it’s not always best to keep worrying at that old bone when you need to focus on writing, editing, and sharing with the world new stories.  And I have more stories in various stages from an inkling of an idea to a full first draft than I can probably write in this lifetime.

But, they can be better.  I’ve found a new voice since writing them.  And, I’ve cringed at a few minor things during my re-exploration of these stories.

So, soon the McAllister series will vanish.  Where the Bodies Are, the McAllister Farm, and Hunting Michael Underwood.  But they will re-emerge.  Better.  Fresher.  And I must continue working to finish the final chapter, Killing David McAllister, for in all stories someone important must die.

 

But not Nathan.  Nathan lives on.  Nathan will have his own story and it will reveal the dark and twisted world of a mind even more troubled than a serial killer lost in a blurred reality between past and present with a compulsion driven by a dark secret locked in a fractured mind.

 

So, watch for the re-emergence of the McAllister series, freshened and improved with new covers.

Hunting_Michael_Unde_Cover_for_Kindle

where the bodies are

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Garden Grove Cover - Amazon ebook - front cover

 

In the meantime, I hope you enjoy Garden Grove, a bit of a quirky and fun to write story.  The scene at the end came from an actual dream I had. A dream about the story.  There is always something in the woods, isn’t there?

 

 

 

The Gypsy Queen

 

And my newest just released, The Gypsy Queen.  This is a story I wrote years ago, and finally focused on editing that first draft to complete it.  Her dark past will not be forgotten.  And, I am already being pressed by a fellow book lover to write a sequel to this one.  I love the art for this cover.  This is an artist I definitely will use again.

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Check out this article when choosing to convert your image to sRGB or Adobe RGB.

Spoiler: argh wins.

https://kenrockwell.com/tech/adobe-rgb.htm

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