virtualDavis

Publishing isn’t broken, or so says Jane Smith over at How Publishing Really Works, and here’s why. The very best books from the very best writers get published; books get sold; and writers, agents, editors, publishers, etc. get what they want: money. Phew. Good to have that sorted out so tidily. Unless, of course, it’s not really that tidy…

For decades, the publishing business has worked pretty well. Writers write books; agents sell those books to publishers; publishers make the books available to the market. Money flows through the system from reader to writer via the publisher and agent. Everyone involved makes money, and gets what they want… Be very wary of new models of publishing. The old one works just fine. (A New Model for Publishing?)

Smith suggests that the only breakdown in the publishing world is unskilled writers, agents, etc. Granted, there’s plenty of room to point the finger at unqualified contenders, that’s always fun and easy. But it seems that Smith is overlooking vital current concerns about whether or not the traditional publishing environment is broken, outdated, inefficient, etc. She talks a lot about money in traditional book publishing. This makes sense because the Gutenberg Paradigm is expensive to maintain. Whereas evolutions in technology, book selling, and readers’ habits have enabled modern publishing alternatives that make book publishing less expensive. Much less expensive!

Mainstream publishing isn’t broken: it has its flaws, certainly, but it still works. It still publishes books which show clear commercial potential; works to make those books as good as they can possibly be; and then gets those books into as many sales points as it possibly can. Just because it does that by only publishing the very best books from the very best writers, and consequently rejecting the majority, doesn’t mean that it’s broken: just that far too many writers are not yet good enough at their craft for publishers to risk investing their money in them.(Publishing Isn’t Broken)

Publishing cannot focus solely on bringing works of staggering genius to the attention of a grateful reading public, or on nurturing and supporting novice writers as they learn their craft and experiment with exciting risky new projects: while that would be nice for those novice writers it wouldn’t be nearly so nice for the publishers’ shareholders who would have to provide funds to publish the many turkeys such an approach would undoubtedly hatch, nor would readers appreciate being provided with all the unreadable tripe which might well result… [So] publishing books which will sell well has to be the publishing business’s main focus. (Publishing: Broken Or Not?)

Related articles

• Gutenberg, Meet Amazon (virtualdavis.com)
• Start Here: How to Get Your Book Published (janefriedman.com)
• For the First Time In History, Print Is Optional. Now What? (ereads.com)
• Traditional vs self-publishing: Neither is the perfect solution (radar.oreilly.com)

Did I like the book?

Full stop! Do you ever find yourself asking this question after finishing a new book?

Image via Wikipedia

I’m not sure I’d go so far as Nathan Bransford because it’s natural, almost instinctual to size up a read according to your own personal like/dislike criteria. But don’t stop there. My sub-four year old nieces are accomplished like/dislike experts. So is my Labrador Retriever, Griffin. It’s pretty well ingrained in the DNA of humans and those critters who mingle amongst us. But it’s not the most valuable assesment tool. Probe deeper, Bransford reminds us. Especially if you’re an aspiring writer — essaying to leap from unpublished, unread obscurity to scribbling fandom — you must learn to asses books, especially widely purchased and read books with more useful metric.

“X sucks.” … [If] this is all an aspiring writer is taking from a book, they missed the main point of reading it. All they figured out is whether they liked the book or not… the one question that aspiring writers should never ask themselves when reading a book is, “Do I like this?” … Who is that question about? Well, it’s about you. It’s about your taste, and whether the book fit in with your likes and dislikes. It’s not about the book. It’s about you and whether the book spoke to you… but plumbing the depths of our likes and dislikes is about entertainment, it’s not knowledge that is overly helpful as a writer. Knowing your likes and dislikes will help you imitate, but it won’t help you learn tools you can really use.

The real question aspiring writers should ask is not whether they liked a book, but whether they think the author accomplished what they set out to accomplish. How good is the book at what it is trying to do? … Once you start looking at an author’s intent, you’ll start to see where they succeeded and didn’t succeed at what they were trying to accomplish. And you’ll also start seeing that what most megabestsellers have in common is that the authors were phenomenal at delivering the thing(s) they set out to accomplish and at giving readers the experiences they wanted to give them. You’ll start absorbing the positive attributes of books you might not even like all that much.

Asking this question and really thinking about it is the place where nuanced reading starts, and where writers will start noticing craft, technique, and things they can actually use when they write. (Nathan Bransfor’s Blog)

• It’s a Great Time to Be an Author
• Inverted Publishing Funnel
• The Myth of “Just An Author”

Related articles

• My Best Advice for Writers From 2011 (janefriedman.com)
• Do People Know That You Write? (nfaa.wordpress.com)

Never believe people when they tell you something is impossible, or “that’s not the way things work.” Make your own success or be doomed to fail.

It was this author’s dream. After writing a deeply personal and revealing memoir, The Last Day of My Life, I landed a top agent at the esteemed William Morris Agency (now WME Entertainment). Six months later, I had my first publishing deal and less than a year after that, the book was officially released. Publishing takes a long time, but the wait was worth it. I had hoped that my book would inspire others who were facing troubling times in their lives and I have been humbled by the many emails I have received from strangers who reached out to me since the January publication date.

Then, the unthinkable happened. My publisher abruptly closed its doors at the end of April. The timing could not have been worse. It was just days before the LA Festival of Books, where I had been scheduled to appear. My participation in that event was canceled and it looked like months of effort in landing numerous television and radio appearances and all the print interviews had been for nothing. My old publisher was gracious enough to grant me a reversion of all the rights to my book, along with all the digital files, but what was I to do with them?

“It’s over,” I was told, by most everyone. But I had heard that before. After writing the manuscript for my book, I was told that getting published today was all but impossible. I refused to listen then and I refused to listen now. As Chief Correspondent for the syndicated television news magazine, Inside Edition and as a regular contributor for CNN and HLN and frequent guest host for Larry King Live, I knew that I could continue to land television appearances. I also believed passionately in the message of my book — that no matter what challenges come your way, life is worth living and there is plenty for which we need to be grateful. What better time to put that into practice than here and now?

I reached out to the former head of sales at my old publishing house for guidance. He connected me with both the company which had originally printed my book and with the independent sales team that sold it to stores. My former editor instructed me on how to apply for and secure a new serial number (ISNB) and Library of Congress registration. I hired a talented graphic designer to repackage the book and I came up with a name for my own publishing house: Incognito Books. Within two months, I was “ready for my close-up” again. I timed the launch of my new edition to coincide with an appearance on Dr. Phil, which I had taped in April, but was not airing until July 9. My boss at Inside Edition graciously ran a story about that appearance and on my newly launched book as well. The results exceeded even my wildest expectations.

As I tracked both Amazon and Barnes and Noble sales numbers throughout the day, I watched in amazement over what happened as both shows aired in the various time zones across the country. It was remarkable. By Friday evening, I had hit #1 on Amazon’s “Movers and Shakers” list with an astounding increase of 309,000% in ranking, from number 80,000 to number 31. I also reached #17 on BN.com. I have already ordered a second printing and I am launching the book in all available digital formats in the next two weeks.

I am still at the beginning of what I hope is a long journey as a writer, both for this title and other books I hope to write. Still, I learned a valuable lesson — never take “no” for an answer. The old publishing model is no longer the only one available to writers. (The Huffington Post proves that.) Look hard and be creative and you may just discover a new way to get your message out there. (Huffington Post)

Lately the blogosphere is busy dissecting the merits and demerits of self-publishing. Though diverse concerns and hopes abound, the economics of self-publishing is a popular point of debate. Can authors earn a living by self-publishing?

Frankly, it’s still too early in this revolution to answer the question definitively. But as the economics of the publishing industry begin to shift rapidly and radically as they’ve already done in the music business, writers, agents and publishers need to study the financial viability of their occupations. On Thursday author Joe Konrath posted, “How to Make Money on eBooks” offering advice to writers in our post-Gutenberg era. His seven recommendations and Q&A are not groundbreaking news perhaps, but they are straightforward, important and timely for authors (and agents and publishers!)

1. Write a damn good book.
2. Price it right.
3. Format it correctly.
4. Design a professional book cover.
5. Write a great product description.
6. Choose your platform.
7. Publicize your ebook.

I’m going with numbers one and seven as the most obvious but most important reminders. And I’m learning that platform, platform, platform (above and beyond deciding on whether you want to publish your digital book with Kindle or iBookstore…) is rapidly becoming the Holy Grail of the publishing world. So number eight, or maybe seven point five, should be build, improve, expand, support, and LOVE your platform.

Konrath’s Q&A section covers critical territory about agents and the pros and cons of traditional versus self publishing, and he circles around to the question on everyone’s mind: Can authors earn a living by self-publishing?

“I don’t know many people who make a living being traditionally published. Most of my peers have day jobs.That said, I’m making a living self publishing. I’m sure others can and will. But whether you can or not involves a lot of factors, some within your control, some not. But, in my humble opinion, a dedicated writer who turns out good material on a consistent basis will be able to, on average, earn more money self publishing than traditional publishing. I say this having done both.”

This might be the most hopeful publishing industry perspective in months!Read the full post here…

Related:

• Self-publish with Borders and Barnes & Noble
• Ryu Murakami Bypasses Publishers, Opts for iPad
• Self-publish with Apple’s iBookstore
• Publish and Distribute with CreateSpace
• Inverted Publishing Funnel
• Save Yourself, Save The Industry

…you don’t need a hit to survive.  You don’t need to aim for the short head of best-sellerdom to escape the long tail. There is a place in the middle, that is not very far away from the tail, where you can at least make a living. That mid-way haven is called 1,000 True Fans. It is an alternate destination for an artist to aim for.

Young artists starting out in this digitally mediated world have another path other than stardom, a path made possible by the very technology that creates the long tail. Instead of trying to reach the narrow and unlikely peaks of platinum hits, bestseller blockbusters, and celebrity status, they can aim for direct connection with 1,000 True Fans. It’s a much saner destination to hope for. You make a living instead of a fortune. You are surrounded not by fad and fashionable infatuation, but by True Fans. And you are much more likely to actually arrive there. (The Technium)

Kevin Kelly dishes up a rambling, slightly repetitive, but insightful and inspiring reflection on the 1,000 True Fans concept. Are you an artist? A creator? Wondering how to survive without selling out or chasing superstardom? Great post followed by many thoughtful comments. Kudos to Kevin Kelly and a hat tip to Seth Godin for the link.

Can you be “just an author” these days, pecking away at a typewriter in a basement somewhere but otherwise completely eschewing publicity and remaining out of the public eye, Salinger- and Pynchon-style, writing in a bubble-like Platonic ideal of authordom?

I think a few authors can probably pull it off, particularly those who are already established. But it’s increasingly rare for authors breaking into the business…

We live in a networked time. The Internet is quickly organizing itself into tribes of far-flung, plugged-in, like-minded individuals and shaping how we learn about the stories we consume… The authors who engage their audience and inspire devoted clans of fans have a leg up over those who sit back and let the publisher take care of that whole promotional thing or who hope lightning will strike on its own.

via blog.nathanbransford.com

Literary agent Nathan Bransford seems to echo what I’m reading all over: no more poet in a garret… Write and write well, but don’t neglect your platform.

A killer proposal isn’t good enough for wannabe nonfiction authors. Lay the groundwork and build your credibility through these strategic efforts.

via writersdigest.com

According to Dianne Jacob, here’s how to build your reputation most effectively:

#1. GET ARTICLES ON THE SUBJECT PUBLISHED
#2. INTERVIEW EXPERTS
#3. CO-AUTHOR A BOOK WITH AN EXPERT
#4. SPEAK ON THE SUBJECT
#5. FIND RELEVANT BACKGROUND FOR YOUR BIO

Read the article here…

Photo via copyblogger.com

Brian Clark (@copyblogger) had me at, “confidence is compelling and downright sexy… I’m not talking about arrogance. Arrogance is an indication of fear, not assurance.” If you agree, you might want to read another one of his postings in which he proposes three helpful hints for bloggers, writers, etc. Don’t take criticism/disagreement personally. Finish each writing project. (Get it done!) And push yourself!

via technewsworld.com

After using Dragon NaturallySpeaking on my PC for years, I was pleased to discover that Nuance was buying MacSpeech. This evolution was one of the final motivators to switch from PC to Mac this fall/winter. Of my two concerns, newly released MacSpeech Scribe solves a big one: transcribing digital voice files to text. This is key for those of us who dictate on-the-go into a handheld device and dump the files into our computer later for transcription. So big plaudits to Nuance for catching MacSpeech up in this regard. The remaining concern is that I’d like to be able to import the vocabulary/pronunciation data that I’ve amassed over the years with Dragon NaturallySpeaking into MacSpeech rather than teaching it from scratch. No matter how much Nuance brags about 99% speech recognition, long-term users know how important this data is. Bottom line, the software becomes more and more valuable the longer you use it, recognizing words and pronunciation better with each new correction you make. But as far as I can tell, MacSpeech Scribe still doesn’t allow me to do this. Is Nuance working on an upgrade that will make this possible? Should I give up home and start from scratch with MacSpeech?

via blog.nathanbransford.com

The publishing world is awash in doomsday chatter, agonizing over the rapidly evolving packaging, distribution, retail and copyright landscape. There’s no question; the publishing world has changed, is changing and will continue to change. Bitch if you want, but we can’t go back!

Frankly, I’m with literary agent Nathan Bransford who says, “You can either be scared of the future or excited. I’m pretty excited.” His blog posting last Thursday has been swamped with comments, mostly optimistic comment from folks who are tired of the horror stories.

Bransford trumpets what’s being referred to more and more as thedemocratization of the publishing world. In the old paradigm, the filtration process (publishers, agents, retailers, etc.) dramatically limited the content that made it from creators to consumers. Probably in most cases this was a “good” thing, but it’s not hard to find fault with the top-down publishing model.

“In the e-book era, everyone will have a shot. And I refuse to believe that’s a bad thing… Yes, there’s going to be a lot of dreck out there that we’ll have to find a way to sort through. Yes, publishers will be challenged by lower price points and will have to change and adapt to the digital era. Yes, my job will probably change some too… And yes, this new era will require more of authors… It will require an entrepreneurial spirit and a whole lot of virtual elbow grease… But what better time to be an author?! All any writer wants is the chance to reach an audience and see what happens from there. Just a chance. And it’s looking like everyone’s going to get that chance.” (via blog.nathanbransford.com)