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Author Nancy J. Cohen discusses the writing process and life as a Florida resident.

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Posts Tagged ‘#Ninc14’

Final Words from #Ninc14

Posted by Nancy J. Cohen on December 12, 2014

Final Advice for Writers from #Ninc14
Novelists, Inc. Conference St. Pete Beach Oct. 2014

To summarize the concluding talks from #Ninc14, here are the final points.

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If you have a lifeboat or collaborative team, specify your goals. Is it to increase sales or readership, or to reach bestseller status?

Series or related books sell the best. Make the first one $.99 so it can be called a bestseller as opposed to free.

Check to see if you have some rights back if not all, i.e. Do you have the rights for non-US territories, audio, translation rights?

Hire translators from the United States and not from other countries. If you hire somebody from outside the US, you will have to pay them royalties.

Don’t get discouraged. Just get more material out there. It’s easy to get distracted and overwhelmed. Once you’re making money, hire people to do everything.

It’s the technology age and you have to do social media, whether or not it’s in your comfort zone.

Ask your readers what they prefer in how they buy books. Do they pre-order?

Don’t just dip your toes in the brave new world of self-publishing. Jump in naked.

Don’t make decisions based on fear. Make it based on your intuition. Know what you are good at and what you need help with. What does success mean to you?

Get your titles out there. They don’t all have to be full-length novels.

Ask your publishing partners these questions: What can you do better than anyone else? What do you think I do well? How could I do better? What skills can you contribute? What market intelligence do you have that we can use together? What information do I have that you need, and for what purpose? What’s the best way we can add value for each other?

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Note: Any errors in this article are due to my interpretation.

Contest Alert!

Win a $25 Amazon/BN gift card or free ebooks from Booklover’s Bench authors, including a copy of my cruise ship mystery, Killer Knots, in our December contest: http://bookloversbench.com/contest/

 

 

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Pitching your Book to Hollywood

Posted by Nancy J. Cohen on December 5, 2014

How to Attract Hollywood to your Book
Novelists, Inc. Conference St. Pete Beach Oct. 2014

Why does Hollywood keep doing sequels and remakes? The simple answer is fear. Studios are filled with people who have legitimate fears about their jobs.

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China is a huge market right now. A movie might not do as well in the United States as it does in the international market. Character dramas and romantic comedies do not travel globally. The failure rate for romantic comedies in the United States is high. They are under-performing in theaters, so they’ve migrated to television. Romance is alive on the big screen but in melodrama, not comedy. These films do well in English-speaking, Western European countries but not in Asia. Character driven stories do not perform as well as dialogue driven ones. Hollywood honchos have to consider the P&A Cost or Print and Advertising budget. A $100 million movie costs $200 million to market. Smaller movies do not work as well because of this factor, and they do not attract as much attention.

Movie Sequels

Television has a bigger audience, so character driven stories can work better here. Authors should point to their sales to convince filmmakers there is an audience for their work. Pitching in Hollywood is for seasoned writers-producers. These people create TV shows. The speaker said she does a preliminary pitch first and then a more formal pitch. Then they “clear the arena” to see who else is doing similar projects.

Tips for Authors

Understand Hollywood is looking for something different.
Boil your novel down to one sentence.
Don’t say “this meets that” to describe your work comparing movies.
Be open about casting.

Trends

Hollywood is making more features for the international markets.
African-American romantic comedy ensembles are finding audiences.
Low-budget Christian films are finding audiences.
There is a market for romantic melodramas in feature films.
TV is great for character driven stories. They can deliver bigger audiences than features.
Traditional romantic comedy has migrated to TV.

How to Approach a Writer-Producer

Have your agent submit your published novel. The writer-producer may request a “shopping agreement” which gives them one year to pitch your story with no payment. If interested, the studio or network will pay the author and the writer-producer separately.

Note: Any errors in this article are due to my interpretation.

Contest Alert!

Win a $25 Amazon/BN gift card or free ebooks from Booklover’s Bench authors, including a copy of my cruise ship mystery, Killer Knots, in our December contest: http://bookloversbench.com/contest/

Posted in Business of Writing, Conferences, Marketing, The Writing Life | Tagged: , , , , , , , | Leave a Comment »

ACX and Audible

Posted by Nancy J. Cohen on November 26, 2014

ACX and Audible
Novelists, Inc. Conference St. Pete Beach Oct. 2014

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What Sells in Audio? Teen and YA Fiction, Romance, Scifi/Fantasy, Mysteries/Thrillers, Business and History.

What do you need to get started? You need a published book on Amazon, audio rights, a manuscript, cover art and rights to the cover. There is no particular length requirement. Figure that 9300 words equals one finished hour of audio. In your profile when you apply to ACX, mention the main characters in your book, your awards and track record.

Options include paying the narrator upfront based on book length or sharing the earnings 50-50 and paying nothing up front. This latter term lasts seven years. Thereafter, you can renew each year or remove the audio book from distribution. A third option is to upload your own audio file.

Royalties are 40% for exclusive distribution and 25% if you go nonexclusive. For the former, you and the narrator split the royalty, meaning you’d each earn 20%. Distribution is to Audible, Amazon, and iTunes. Make sure you grant world rights for global reach.

You can earn a $50.00 bounty when someone joins Audible and purchases your book first. The person must stay in Audible for 30 days after the trial period.

The author gets 25 download codes for promotion but these don’t count toward your bounty. You can request more. How can you use these? Use them to generate reviews. Check out these sites: Audiofile, AudioGals, Books for Ears. Offer giveaways to your newsletter subscribers and social media fans. You can use Audible’s gift center to send a book to a fan.

If you already have an audio file, make sure it meets the requirements. It takes about three weeks after uploading to become active. Royalties are paid monthly via check or direct deposit.

Selecting your Narrator

Is she too fast? Too slow? Too cartoonish? Just right? Keep in mind that the listener can speed the audio with a tool in the app. You’ll want to give your narrator about three pages to read. These can be different paragraphs along with the context. In a series, continuity of narrator is important. A single voice is more popular than a multi-cast. Any additional material should come after the credits at the end.

One tip: use fewer dialogue tags. Various checkpoints occur in the process: the initial audition, and then a 15 minute sample which does not have to be the first pages of your work. You can request two rounds of revisions. Listen for the quality of sound during the longer samples. You can terminate the contract if you do not like the results. If approved, you can request three chapters at a time from your narrator.

Check the performance rating with each narrator, visit their website and note how many books they’ve done. You can click Like or Dislike to organize your selections. Narrators do not see this. You can send sample clips to friends for their opinions. Ask the narrator about her editing. Will she allow you to review the audio chapter by chapter, or at least three chapters at a time? You want somebody who’s easy to work with. If you are not happy with the narrator and reviews reflect your views, you can ask the narrator to re-record and upload. Do the first book slowly and thoughtfully. Do not rush the process.

The speaker from ACX at Ninc who nominates audio books for promotion said she looks at the book cover first. Next she’ll check out the number of reviews and what they say. She will check out your social media sites to see if you are promoting your audios. If you have a series, getting a promo boost for book one is important. Branding and packaging should carry over from other series titles.

How to Stand Out

Consider adding teasers for sequels after the credits. Coordinate promo efforts with your narrator. Leverage SoundCloud for audio clips. Make a dedicated space on your website for audio books. You can distribute up to 10% of your audio on a clip. This can be embedded on your website.

 

Note: Any errors in this article are due to my interpretation.

 

Posted in Business of Writing, Conferences, Marketing, Self-Publishing, The Writing Life | Tagged: , , , , , , , , | 12 Comments »

Author Collaborations

Posted by Nancy J. Cohen on November 21, 2014

Author Collaborations
Novelists, Inc. Conference St. Pete Beach Oct. 2014

A collaboration might consist of a single book containing a bundle of novels or novellas by different authors. The main benefit is that more experienced authors will draw attention to newer authors. It’s a cost-effective way to produce a print version of shorter works. Promotional duties will be shared among the authors. And you can learn the indie publishing process along the way.

Consider the following in drawing up an agreeement:

Distribution of royalty: How will the money be split and on what basis?
Production costs: What will each author chip in?
Format: E-book? Print? Who decides?
Distribution channels: Who decides which book retailers/outlets?
Exit strategy: How can an author withdraw?
Termination date for bundle: When will it be taken off the market?
Who administers each vendor account? Ideally, each writer should have password access.
Will you set up an LLC or Corporation? This could protect against lawsuits.
Can a single author sell her book outside of the bundle, or does the bundle have exclusive rights?
Who coordinates promo efforts?
Who spends how much on publicity?
Who controls the bank account?
Who issues 1099’s or payroll expenses? Who keeps and distributes these records?
Will the group hire an accountant?
Who is the backup for the prime member?
Is the bank account accessible to other members? It should be.
Do members wish to see copies of receipts?
Who gets the vendor reports? Every author should get one.
Will each author forgo publishing new works within a certain period of time to avoid competition? Or will new works outside of the bundle be allowed without restriction?
Will the bundle be copyrighted? If so, who will register or own this copyright? The LLC or Corporation can own it if you have one. If a book bundle is copyrighted under a Corporation, you’ll want to mention that, upon dissolution, the copyright for each respective title is assigned to the individual authors.
Who owns the cover art? Who can use the cover art?
How will disputes be handled– through mediation, arbitration, or lawsuit? And in which state?
If your book is pirated, will it be dealt with or ignored? Who will be responsible?
Will you get media or publisher peril insurance? If you don’t have an LLC or Corporation, you can get this but it can be difficult to obtain.
Consider that if a bunch of books is written by different authors under one pseudonym, all the authors could be sued under that name.

An author spoke about her box set. She had a one-page letter of agreement with her partners. She advises you to determine your goals. Is it to hit a bestseller list? Or do you wish to raise publicity for your book? What is the term limit for your box set? How much will it be priced for? What are the consequences if one member wishes to withdraw? In her case, the person withdrawing would pay for reformatting unless more than half of the members wanted out. They decided who would report sales and when, who would collect money and pay them their portion. They decided that all members would make decisions together. They agreed on a price to pay for ads. Disbandment was set for 45 days after the book went on the market. One concern she mentioned is that if the person who manages the money puts funds into her personal account, who else has access?

Publishing each other’s work in a co-op is another type of collaboration. Book View Café was cited as an example.

Regarding box sets, you need to determine the order involved. The first and last titles are premium. Should they be listed alphabetically, or should the bestselling author get the top spot? Are you allowed to sell your books individually if they’re in a box set with other authors? Are they going to be backlist titles or new titles?

Thinking these things through and discussing them with your partners ahead of time will avoid conflict down the road.

Do you have any considerations to add?

 

Posted in Business of Writing, Conferences, Self-Publishing, The Writing Life | Tagged: , , , , , | 3 Comments »

Changes in Publishing: Who Will Survive?

Posted by Nancy J. Cohen on November 10, 2014

Hugh Howey: The Publishing World is Changing. How Can You Keep Up?
Novelists, Inc. Conference Day 2, St. Pete Beach Oct. 2014

Hugh Howey began his presentation by showing slides on “A history of storytelling.” The order goes this way:

Oral tradition
Written tradition
The first cubicle workers, i.e. monks transcribing by hand
Movable type
Offset and digital in 1990
Electronic publishing 2007

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He recommends reading “The Storytelling Animal.”

Bar codes revolutionized sales in that data could be tracked. This led to massive discounting. In 1995, Amazon went live. In 2014, indie bookstores see a 20% growth in openings since 2007.

Book selling is like the game: scissors, paper, rock. You have the big-box chains, online retailers, and indie bookstores. Amazon beats the chains. Indies beat Amazon on their location, curation, and community. Publisher profits have risen, but digital is subsidizing print. Business costs and author royalties for digital are much less for publishers and their profit margin is up. So digital is saving publishers, and Amazon is saving indie bookstores.

There’s less downtime between reads for readers. They want immediate downloads. The guilt of the TBR pile is gone. Clutter is no longer a dissuasion for buying more books.

Digital includes e-books, audio, and print-on-demand books. “I can’t stress enough how crazy audio is, and that’s part of digital.”

Three variables determine author income: the number of titles sold, the price of the title, and the author royalty rate.

Romance is the bestselling book genre in terms of author earnings. Mysteries and thrillers are next.

Self-published royalties surpass traditionally published royalties. Digital is about 70% of the market. 40% of print sales now are on Amazon, not including print-on-demand.

The top 20 Amazon bestsellers in each category:
Mystery/thriller: 4 audio, 1 hardcover, 1 paperback, 14 e-books
Science fiction/fantasy: 5 audio, 15 e-books, no print
Romance: 20 e-books
Fiction/literature: 4 audio, 1 hardcover, 1 paperback, 14 e-books
History: 2 audio, 7 hardcover, 4 paperback, 7 e-books
Teen: 1 hardcover, 5 paperbacks, 14 e-books

Publishers are more profitable as the cost of production and distribution has gone to nearly zero. Big bookstores are going under while Indies take more of the market share. Expectation and output paths are converging, such as author platform and professional book production. The number of people making a living at writing has gone up from tenfold to fiftyfold. The chances are slim but it’s doable to make it as a writer.

Publishing is moving to the West Coast. Amazon, Google, and Apple will become prominent publishers along with other tech companies. Indie bookstores will survive. The real threat is the decline in recreational book reading.

Who will survive?
Publishers who pay well and price their books right
Retailers who curate well
Anyone who aids discoverability
Partners who increase distribution
Freelancers who raise quality
Toolmakers who increase quantity
Locales that create an addictive book culture

Note: Any errors in this article are due to my interpretation.

Coming Next: Empowering Authors with Amazon Independent Publishing

Novelists, Inc.

CONTEST ALERT! Win a $25 Amazon/BN gift card or free ebooks from Booklover’s Bench authors in our November contest: http://bookloversbench.com/contest/

 

Posted in Business of Writing, Conferences, Marketing, Self-Publishing, The Writing Life | Tagged: , , , , , , , | 19 Comments »

The Future of Publishing, Part 2

Posted by Nancy J. Cohen on November 3, 2014

Session Four: The Future of Publishing, Part 2
Novelists, Inc. Conference St. Pete Beach Oct. 2014

If you have a better sense of what you have going in to your career, you have a better chance of coming out where you want. You should have an audio book, because people are busy and commuting.

Globalization means growth in market places around the world. There is a huge global market for English language books.

What’s coming? Specialization of content, shorter content, fan fiction, micro-content. People are reading but not necessarily a novel. They read blogs, Facebook posts, and other material. We need to figure out how to monetize these things.

Another futuristic innovation might be micro-transactions where the reader clicks a button to send a dollar to an author. There will be more collaborative efforts like ACX, translations, and author collectives. Another trend might be personalization in how content is served. We need to be ready to embrace change and accept opportunities as they arise.

There’s a shift of empowerment toward authors because of technology. This is the slowest the change will go as it is right now. But you, the author, must continue to produce the very best book you can, or nothing else matters.

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What authors need is data about what readers want and where to find them. The Book Industry Study Group collects book data. How do we turn this data into usable information for our careers? New retail models are coming. The digital disruption is going to be very destructive. Agents may go away [or they can be useful for subsidiary rights]. On the other hand, things are changing and that’s frightening, but they’re going to move forward.

When will there be an “Authors United”? Authors should use their scale to push our issues.

Brick-and-mortar booksellers have a disadvantage when a hardcover sells for nearly $30 and an e-book sells for $9.99. Retailers are concerned about surviving this price differential.

Windowing your release dates is crazy because readers will buy books in all formats. Your book should be released at the same time in e-book, paperback and hardcover. These are not different audiences.

We haven’t seen peer retailing emerge, and we need to be prepared. People communicate around the world in E-commerce. We need to be ready to sell directly to readers and to analyze the data on discount sales and on what platforms people want to receive their books.

Check out Wattpad, Payhip and Hugh Howey’s authorearnings.com

Note: Any errors in this article are due to my interpretations. As many ideas flew back and forth during each session, I mention what I gleaned from the panels, and you can take from it whatever serves your needs.

So what trends do you predict? And how are you preparing for them?

See all of my Photos in the Ninc album on my Facebook Page 

Coming Next: BookBub

Posted in Business of Writing, Conferences, Marketing, Self-Publishing, The Writing Life | Tagged: , , , , , | 6 Comments »

Rights for Authors

Posted by Nancy J. Cohen on October 31, 2014

Session Three: Rights: Yours, Theirs and Ours
Novelists, Inc. Conference St. Pete Beach Oct. 2014

What will bring back the career authors who have more sales and control with indie publishing? “The job of the publisher is to provide the author with a platform. Print books are essential to this,” said one speaker. “It’s our job to help you amplify your voice to readers. Readers want to connect with the author. Finding a social media audience should be up to the publisher.” But another panelist said authors are often expected to show up with a platform.

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Publishers are reluctant to buy books previously indie published. There’s a price differential from a $2.99 indie e-book to a $7.99 e-book with a  traditional publisher, and readers balk at the difference. The customer is also different going from digital to bookstore. You’re selling to a completely different audience.

More transparency and true negotiations are needed to attract writers back to traditional publishing. What we need are term limits for authors to get their rights back. The out-of-print clauses for publishers are operated from a sense of fear that something they let go will take off and become a bestseller. Publishers need to brag about their good contract terms instead of being afraid of the competition. They need to show more transparency regarding the terms they offer.

It’s useless to get specific marketing promises from a publisher. Technology changes as you go along, and some of the activities promised may be based on sales figures. That type of legal detail is a waste of time and energy. But you should have these conversations outside of the contractual agreement.

Publishers are interested in what kind of future you, as the author, can project. They’re not interested in your backlist as much as your frontlist when they seek to acquire you.

The non-competition clause was discussed. Is it really necessary? Authors say it’s a career destroyer. They don’t believe they’ll cannibalize their own work as publishers fear. Publishers are worried about saturating the market. Print books need time to get into bookstores. They worry about quality control with self-published works that authors might offer in between traditionally published novels. Authors would love to be hybrids but not to the detriment of making a living if they can’t publish a new book for a certain number of months as per their contract.

The big five are pretty much not taking print rights only and letting authors keep their e-book rights. E-book royalties produce a huge profit margin for publishers.

Publishers are going to look at a successful indie author to see if she’s peaked. Could she benefit from transitioning to traditional publishing to pick up a new audience? You can’t assume your track record will carry over. It will not work for your backlist only. You need new books as well. How can the publisher use this backlist to carry you over from one world to another?

Regarding the 25% net royalty for e-books that is standard for traditional publishers—is the overhead in their fancy New York offices really necessary in the digital age? Publishers make a profit even before the author earns out an advance. Successful authors can still get a raise on their advances.

Note: Any errors in this article are due to my interpretations. As many ideas flew back and forth during each session, I mention what I gleaned from the panels, and you can take from it whatever serves your needs.

See all of my Photos in the Ninc album on my Facebook Page 

Coming Next: The Future of Publishing, Part 2

 

Posted in Business of Writing, Conferences, Marketing, Self-Publishing, The Writing Life | Tagged: , , , , , , | 8 Comments »

Pricing and Discoverability

Posted by Nancy J. Cohen on October 30, 2014

Session Two: Yo! Here I am! Buy Me!
Novelists, Inc. Conference St. Pete Beach Oct. 2014

The general reader mindset changed with the advent of lower-priced, self-published books. One speaker encouraged higher prices than $.99. For that low price, he feels readers aren’t as vested and are more likely to give a lower rating. Also, the reader may not stick around to read a $.99 book as opposed to a higher priced book. Customers like lower prices, but that doesn’t mean they won’t pay more for what they perceive as value. Millions of customers are willing to pay as much as $15 per book. Traditional publishers can price lower and indie pubs can price higher. These two have to come together.

You can use pricing as a discovery tool. Price lower for your backlist titles or for one day as a marketing promotion. BookBub is where readers download free or cheap books to discover new authors. If a reader likes the book, they will buy other books by that author. The audience who subscribes to BookBub trusts them to offer books of a certain quality. Multi-author box sets can also drive discoverability. [Author’s Note: Also check out The Fussy Librarian]

So the $.99 deal is a great way to meet readers and get acquainted. Don’t feel you have to price every book as low as $2.99 or $3.99. You must have a pricing strategy. For example, make the first book permafree and price the others at a higher rate. Making the first book in your series free helps all your sales.

Kobo promotes the first free in series. They say an average of 54% of people who finish reading a book will go on to read more books by that author. Kobo curates the front-page material for their website.

Books in a series will sell better than standalones. But you don’t have to have books in a series per se if you can link them in a smart way. For example, one author had “the first kiss club” for clean, teen romance although each book is a standalone.

Your e-book is a living document, so put links in your new books to your backlist titles. The back matter is very important.

An average of 18 audio books is consumed by Audible subscribers in a year.

One speaker feels that subscription readers (for services such as Kindle Unlimited, Oyster, or Scribd) are a different market than readers who would buy your book.

It’s not easy for librarians to find indie authors on Overdrive. But another speaker said profits from the library market are relatively small compared to the retail market for successful indie authors. The following services were mentioned regarding libraries: Overdrive and BiblioBoard.

Lunch was served next, tempting us with deli sandwiches and an array of desserts. We had time to schmooze with friends before moving on to the afternoon panels.

Here I am with Ann Meier from Florida MWA and there’s Leanne Banks at the dessert table.

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See all of my Photos in the Ninc album on my Facebook Page

Note: Any errors in this article are due to my interpretations. As many ideas flew back and forth during each session, I will mention what I gleaned from the panels, and you can take from it whatever serves your needs.

 

Posted in Business of Writing, Conferences, Marketing, The Writing Life | Tagged: , , , , , , | 4 Comments »

The Future of Publishing, Part 1

Posted by Nancy J. Cohen on October 29, 2014

Novelists, Inc. Conference St. Pete Beach Oct. 2014

The Novelists, Inc. (Ninc) conference is the only writers’ conference focused solely on the business of writing. To become a member, you must show proof of two published novels. This is not the place to promote your work, pitch to agents or pick up new fans. It’s primarily a learning experience. You go here to learn what’s new in the business, what’s to come, and how to approach the many aspects of running a small business in the publishing field.

Of course, meeting old friends and making new ones is the benefit of any conference and this gathering was no exception. People came from across the country, enjoying the perfect Florida weather and beachfront setting.

Photo 1: Nancy J. Cohen, Annette Mahon, Carole Nelson Douglas, Laura Resnick
Photo 2: Nancy J. Cohen, Terry Odell, Karla Darcy

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Photo 3: Donna Andrews, Carole Nelson Douglas, Nancy J. Cohen
Photo 4: Sophia Knightly and Nancy J. Cohen

Tradewinds Resort

First Word Thursday: The Future Of Publishing, Part 1

Any errors in this article are due to my interpretations. As many ideas flew back and forth during each session, I will mention what I gleaned from the panels, and you can take from it whatever serves your needs.

Nine industry guests discussed the partnerships between authors, publishers, and agents. Journalist Porter Anderson moderated.

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A partnership is a power relationship. Consider where the power lies in each transaction. Ask yourself what your skills are, what partners have complementary skills, and who has the scale to utilize these skills to your benefit. Partnership implies equality, but at the end of the day, it’s your business and what you, as the author, have created. You want partners who can connect your book with a wide audience in new ways. Also, know the financial health of your potential partners.

One speaker was concerned that companies with enormous “scale” had their own agendas. They focus on profits rather than on promoting each title in a sustainable way. Publishers are making more profits today and more margin on e-books even when they say they’re hurting. Incumbents like the Big 5 are the least likely to innovate.

As an author, try to retain as much control as possible. Allow for new avenues to explore but examine them from all angles. With the advent of new technologies, look for shorter terms in your contracts so these new models can be tested and evaluated.

The key to partnership is mutuality. Traditional publishers must be more willing to let their writers go, because once your titles go backlist, you lose the mutuality. Print on demand and e-book publishers should not keep a book in print unless the author is making real money.

Competition drives innovation. Google could become a viable competitor to Amazon.

The most important relationship an author has is with his readers. What you write has to connect with your readership. Write consistently. Target your audience and determine how to reach them. Continuance between the author and reader is important whatever the distribution route. Unfortunately, often authors talk to other authors and sell to other authors. Focus on your readers.

Bringing back the mid-list has been the biggest benefit of digital publishing. However, there’s a glut of writers out there, so the solution is to increase demand. Society and culture need to make reading a valuable pastime. Let kids read fun books instead of classics in school. Every one of us should be involved in turning people into readers. How to sell books in a sustainable way is a critical issue.

One of the keys to self-publishing is for bookstores to open to indie authors. The recent deal between bestselling author Barbara Freethy and Ingram is encouraging.

BookLamp analyzed the contents of a book and gave recommendations to readers based on the text. (This startup has been bought out by Apple.) Authors collectively have power and should ask more questions about their data.

A discussion came up on the pressure for authors to produce more and faster in the digital age. Quantity should not be versus quality.

The author on the panel spoke about how iBooks is her number one retailer. She is totally self-published. After taking years to write her first few books, she put them all up at once. Now she’s a self-sustainable, bestselling author. She has an international Street Team that helps spread the word about her books. Her encouraging words: “You can make a living without being a household name.”

What do international readers want? Amazon is starting to look at the translator marketplace.

Coming Next: Yo! Here I am! Buy me!

See all of my Photos in the Ninc album on my Facebook Page 

Posted in Business of Writing, Conferences, Marketing, Self-Publishing, The Writing Life | Tagged: , , , , , , | 31 Comments »

 
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