Chicken Scratchings

Posts Tagged ‘Book’

by Bill Ruesch

In many posts, I have been very vocal about the Internet Wolves and Knaves that lay in wait to snare self-publishers. I’ve witnessed what happens to authors hoodwinked into spending their savings with little or no results to show for it. I’ll continue to rant about those dirty rats. You can count on it. I’ve even advised self-publishers to visit Victoria Strauss’s Writer Beware web site because she is doing a reasonably credible job warning us about traps and dangers.

Who has bigger dreams and expectations for your book manuscript than you?

No one. What attracts those who prey on self-publishers, especially new ones, is the rookie author’s general lack of knowledge of the process and their wide-eyed belief in the value of their manuscripts. Getting a book published is a lifetime dream for most. When someone says you can have your dream come true for just (whatever the dollar figure is) you may feel you just won the lottery.

Knowing what to avoid is a good thing, but it doesn’t go far enough. Authors need to know where to find legitimate, competent, and cost effective assistance. I don’t care how brilliant you are, a first-time self-publisher isn’t likely to successfully negotiate the complexities and produce a commercially credible book on their own. Professional help is required.  After all, you wouldn’t set out on a safari through the darkest jungles without guides, would you?

BookWise & Company, BookWise Publishing, and WriteWise Mentoring

Recently I attended a self-publishing boot camp, known as a Book Camp, organized by BookWise Publishing. This isn’t the old BookWise & Company, founded by bestselling authors Richard Paul Evans and Robert G. Allen. BookWise & Company was a multi-level marketing enterprise.

It seemed like a great idea at the time.

The idea was to give 100 new authors the opportunity to learn how to publish or get their books published with the aid of two New York Times bestselling authors as mentors. For a reasonable flat fee, newbies could submit their manuscripts and have them edited by peers of published authors, designed by experienced and talented designers, printed by excellent presses, and marketed by the authors themselves, with hands-on coaching from Richard Paul Evans, Robert G. Allen and other experienced pros. What would it be worth to a green, untested author to be given the attention of people like these instead of just being dumped on some clerk’s desk, in a forest of cubicles, inside a cavernous room, deep in the basement of some publisher’s impenetrable fortress?

The thought was that if a book received very professional treatment from the outset it would garner greater attention should the author wish to go the traditional route, or give them an edge should they decide to self-publish.

No one can guarantee a book’s success. Some felt that their books deserved to be bestsellers because they paid for mentoring. It doesn’t work that way.

Victoria Strauss of Writer Beware panned the old BookWise & Company.

She had a point—when she was talking about the multi-level part of the company. BookWise Publishing is not BookWise & Company. BookWise Publishing owned and operated by Karen K. Christoffersen and Meagan Bunten is carrying on helping the authors and assisting their progress. Currently they have over 200 authors in the pipeline and have completed over 65 books over the last two years.

Despite Ms. Strauss’s good intentions…

the problem with the Internet is like the old story of the woman with a gossiping habit. As a lesson, her minister emptied a feather pillow into the wind. Her impossible task was to retrieve all the feathers. Once something hits the net it spreads like feathers in a breeze, probably further and even more impossible to call back. BookWise Publishing doesn’t deserve the stigma. It is not a multi-level enterprise.  It is a company with the same name but different owners and management.  Karen Christoffersen asked a brilliant young woman, Meagen Bunten, to be her partner in  the new BookWise. They have no relation to the old MLM and are building BookWise Publishing as an independent collaboration of top people in the publishing business who are dedicated to assisting authors with everything they need to effectively produce and market their books. Costs are contained and kept reasonable by the fact that all services are virtual. There is NO overhead and every associate is self-employed.

Experience matters.

The difference between what BookWise is doing and what hundreds, if not thousands of others are doing, is that they have collected many experienced associates with real life publishing skills. They didn’t  hire the brand-new-just-graduated-learn-on-the-job-beginners and let them loose on unknowing customers. They have real-honest-to-goodness experienced experts.

Am I prejudiced in my assessment? You bet.

I came across BookWise Publishing a couple of years ago, sort of. I had written a novel and even though with my print background I can produce a printed book in my sleep, I didn’t have the foggiest idea of how to sell it. I called Karen—and this is where the sort of comes in—because I knew that she had done a lot of marketing work for Richard Paul Evans and his books over the years, I figured that she could help me if I asked nicely. That’s when I learned about BookWise, the old BookWise. Karen was doing a lot of work preparing the books to go to print. She was burning the candle at three ends.

One thing she could sweep off her plate was the print production. Well hey, there I was, an expert print manager walking right through her door. Since that day I have helped her with the printing side, and she’s been helping me with my writing. I tell you this because I have a special interest in BookWise. BookWise sends me business and they like me so much that my bio appears on their website as the printing expert. I don’t mind. I am an expert and I do consult with them on their printing needs, but I am not an employee nor owner of the company.

The question you should be asking right now is, “Is Bill Ruesch’s opinion of BookWise tainted?” The answer is yes, but that doesn’t make it wrong.  I encourage any self-publishing authors reading this to contact BookWise Publishing, compare their expertise, check their prices, and be prepared to be very impressed. They will be happy to give you the names and contact info of some of their authors so you can hear their testimonials. These are real people and they won’t pull any punches. This is a relatively small, intimate group of new authors who love to get together 2 or 3 times a year at Book Camps in Salt Lake City (and once a year at Book Expo America) to rub shoulders with each other and perfect their craft. And sometimes there will be magic and a BookWise author will get a traditional publishing contract, like April Hanrath whose book, Jeremy, An Ember in the Ashes, was just picked up by Random House.

Don’t believe everything you read on the Internet.

BookWise Publishing isn’t just another me-too author’s production resource group. It has the talent, connections, and brains to become a real force in the traditional and independent publishing worlds for years to come. Watch them and see for yourselves.

by Bill Ruesch

If you have the creative ability to write a book you already have the fundamental skills necessary to sell the book.

What you may not have is self-confidence.

Three book marketing truths worthy of careful consideration:

• Books don’t sell themselves. Despite what you may believe, books are sold by people not bookstores. Even the Bible, the best selling book in history, has to be sold. You don’t believe it? What are they doing in churches every week? Promoting the reading of the bible which increases sales. Think of divinity schools as bible sales training for ministers.

• Who has the most to gain and the most to lose if your book fails? Come on, if you don’t have the answer to this one, you probably believe that denial is a river in Africa (sorry, it’s an old joke and I just couldn’t resist tossing it in).

• Your book is your baby–who loves it the most? You gave birth to this book. You know what you had to go through to bring it into this world. Who, but you, will be its most powerful spokesman?

To Start You Don’t Have to Look Any Further than Your Own Backyard.

In addition to confidence, what is the single most important ability you as writer already possess to move your book?

Creativity

I read a story some years ago about a young copywriter applying for a job at an advertising agency. The competition for the position was brisk and he knew it, so instead of mailing in the typical resume he boxed up a can of dog food with a note attached that read, “Please hire me so I don’t have to eat any more of this.”

He got the job.

You can tap the creative marvel inside of you. You proved that by producing a book. Now is the time to dig deep into that same genius that spawned the book and create a way to promote it. The competition is brisk (see blog post, 15 Stacks of Books Taller than the Empire State Building, what can you do to rise above the pack and get noticed?

Remember from the last post that enough books are published in the US every year to build 15 stacks of books taller than the Empire State Building. Where will your book be in a stack if you don’t noticed? If you sit by the phone waiting for Oprah to call–forget about it!

Being creative DOES NOT mean to disregard the usual book marketing methods like arranging book signing events, getting yourself on TV and/or radio, utilizing social networking avenues, selling your book to family and friends. Don’t dismiss selling to family and friends. It may feel awkward or uncomfortable, but I figured out that if I could pre-sell 100 copies of my upcoming book, Whistlin’ Salamander, it would just about cover my upfront expenses. I have enough personal associations to accomplish this first goal. What about you?

We at The Red Hen Association would love to hear from you about your personal experiences. What unusual methods have you employed to bring your book to the forefront? How successful was it? You can add your comments to the comment section at the end of this post, or email me at bill@redhenassociation.com.

A Chicken Scratchings reader expressed frustration over hiring a professional editor to fix the problems with his manuscript before self-publishing the book. When the book was printed the author found several typos that he thought the editor should have caught. Was he right or wrong?

I can shed some light on the subject; after all I’ve been in printing and publishing for 35+ years.

1.  Typos are like car accidents – no matter what you do to prevent them they still happen. The first car accident on record happened in Ohio in 1891. Since there probably wasn’t another automobile in sight the driver hit a hitching post (no one knows if alcohol was involved). Even though there weren’t enough cars in existence to have a crash, a crash still occurred. Typos will happen. That doesn’t mean you should ignore them. No. You should make every effort to find and crush them, but to save yourself some grief, just remember, you probably won’t succeed.

I read a blurb in a trade magazine years ago where one of the major dictionary publishers said that they go through  132 proofing steps every time there is a new edition, and they still find errors. That doesn’t mean authors should slough off grammar mistakes and typos, but they shouldn’t beat themselves up over it either. Just be sure to fix it before the next printing.

2.  What you need is a divided personality. Except for a professional athlete perhaps, does anyone have a bigger ego than an author? If we didn’t believe in the value of what we write we wouldn’t write at all. We’ve worked hard to hone our skills and we believe that our book is a jewel just waiting to be discovered. Self-confidence is not a bad thing until it gets in our way. It is hard to see a dangerous pothole in the road when we are blinded by the headlights of our own egos. How many people try out for American Idol believing that they can sing and go away defeated and insulted when faced with the truth. We’ve all picked up books that are so bad we wonder how they ever got published. Before you trick yourself into believing something untrue, seek professional input.

3.  Never, never, never send your book off to print without professional editing. I don’t care how good you are, no one, and I mean no one, should try to edit their own book. As human beings we all have a kind of blindness associated with our writing. Our wonderful, creative minds generate the words we put on the page. This same mind can look at a sentence we’ve written with an error in it and we will mentally correct the mistake so that it passes by totally unseen by us.

A writer who deems himself/herself able to edit his/her own book is like the attorney who represents himself in court. The attorney has a fool for a client and so does the author. I know, it isn’t easy to let someone tamper with your baby. Carefully consider your choice of editors. Select one you respect enough so that if they call your baby ugly, you may not agree, but you’ll be inclined to listen.

4.  What is the editor’s job? That’s a good question and the answer is — it depends. Don’t ask for a light edit or proofreading only unless you have had a heavy edit first. Proofreaders check for punctuation, spelling errors, and standard grammar usage. Heavy Editing or Copy editing involve such things as checking sentence structure, diction, sense (vagueness), mixed metaphors, use of passive voice, and flow.  Ghost Writing and Book Doctoring involve something more intense. This type of editor will analyze the book and make the changes or write the copy if the author isn’t skilled. When should you call in a Book Doctor? If you know your skills are weak call one in at the very beginning, or if during heavy editing it becomes obvious that major structural changes need to take place.

Is that all? Not hardly, there are technical editors, indexers, photo editors, acquisition editors, etc. What an author needs to take into consideration is that publishing a book is a complicated and difficult task. No matter how professional the editorial team is, no one is perfect. Mistakes will be made, but everything is correctable. After all, printing is just ink on paper.

5.  You have only yourself to blame if you don’t carefully select your editors. If you are being traditionally published you don’t have a choice. Self-publishers on the other hand are required to choose unless they go to one of those Internet book mills. You know the places who advertise low prices, speedy production, and quality work? If they can put their services on sale you can bet that their services are bottom of the barrel. Don’t let your precious baby toddle off into the lackadaisical arms of strangers. They may seem very nice, but if your book never gets a chance because it is sub-standard it doesn’t matter how nice the people were, or how low the price was, does it? Don’t cut yourself short.

The God’s-honest-truth is that most self-published books are sub-standard. The Red Hen Association has been formed in part to help and encourage authors improve their quality. If self-publishing is ever going to break into the mainstream we will have to overwhelm it with quality books. Otherwise, we self-publishers will be forever viewed as second rate.

Yesteryear's Posse

It may seem odd to use a word like posse in connection with self-publishing a book especially since in today’s parlance it has come to mean a group of sycophants following the latest glistening celebrity. He who has the most toadies wins. No, I’m thinking more in terms of the Old West when the Sheriff sent out a call for citizen help and good, qualified people gathered to track down and capture the bad guy. They formed a team–a team on a mission–a mission to save the town and protect the womenfolk.

There will be some that disagree with me, and they will have a point, but trying to be the Lone Ranger when self-publishing is a hard road, even still, with the  exception of ePublishing, at the very least a self-publisher will need a printer. How many authors, besides Benjamin Franklin, are able to write and print books? Your desktop printer doesn’t count.

The typical self-publishers book posse consists of these:

• Content Editor (checks for plot flow, and sense–also accuracy of detail)
• Grammatical Editor (looks for typos, grammatical errors, etc.)
• Permissions Editor (checks the author’s right to use quoted or other material)
• Technical Editor (generally for non-fiction works to make sure the technical details are correct)
• Proofreader (proofreading is a skill that requires extraordinary attention to detail. The more eyes on it, the better.)
• Layout artist (takes raw copy and shapes it by selecting fonts, watching for functionality and ease of reading, margins, headers, pagination, etc.)
• Graphic Designer (Primarily for cover design. The objective a great book with a great cover.)
• Production Coordinator/Manager (This person brings it all together. They are the deputy in your posse. They assist in gathering the posse, getting pricing, arranging for shipping, etc.)
• Printing Broker (Serves as the posse’s guide seeking printers who provide the best value. Brokers, unlike company employees, have no self-interest in the transaction, and should there be problems can intercede in your behalf.)
• Printer (A good printer is GOLD, but you need to be careful, especially in this economic climate. Printers are hungry and as a result are going after any work they can get. Just because a printer can do, a job doesn’t mean that they are the best choice.)

After the book has been produced, you’ll need these for your posse:

• Distributor (makes sure book orders are shipped on time and at minimal cost)
• Warehouse/Storage (Where will the books be housed?)
• Marketing (Book sales don’t happen by themselves. What plans do you have to market the book? Who will help? What will you do?)
• Public Relations (includes press releases, interviews, book reviews, etc.)
• Travel Assistant (someone to help you coordinate speaking trips)
• Information Technology ( the Internet is critical–good IT people are a necessity)

Many of these people can serve in multiple ways. You, as the author, will take on many of the roles, and some will be filled family members or close friends, but be careful in your choices. Just because you have a nephew who can draw pretty well, doesn’t mean he has the skill to layout your book or create a K.O. cover. Here is where it gets tricky–be honest with yourself, are you knowledgeable enough to judge? Some of the worst books out there, the kind traditional publishers despise, come from potentially good authors who didn’t have the sense to hire experts. To them the book is incredible, but to a trained eye, it may be a wreck. Pay for professional advice and follow it, even if it takes you out of your comfort zone.

In coming posts I intend to describe the jobs of each of the posse members in greater detail and provide tips on finding and selecting the best ones.

A book that doesn’t sell is  landfill. We don’t need more landfill–what we need are books that get into the hands of readers. Social networking has proven to be an excellent way to reach possible readers and buyers, and The Author Platform (TAP) has developed a step-by-step program for authors to learn the ropes. Just click here to go to TAP and check it out for yourself.

1. Vanity Publishing

In my last post, I tried to make a distinction between vanity publishing and self-publishing. I also tried, with limited success, to convince the readers that the very word vanity is insulting. What I don’t understand and I hope someone will explain it to me, is why authors, particularly those who paid their dues and know how difficult it is to succeed in publishing, would want to continue labeling other authors with the demeaning term vanity.

Just because an author wants to print and distribute a book to a limited audience doesn’t make them vain.  Family histories, poetry, even cookbooks usually come about as a labor of love. I thought about Love Publishing as a possibility and then decided it would probably be misinterpreted as an euphemism for romance or sex.

Instead I suggest that we re-name this type of publishing as limited. Limited Publishing instead of vanity is kinder, and really more accurate, don’t you agree?

2. Self-Publishing

New authors are vulnerable and there are plenty of people just waiting to fleece them. Whether they are wolves or knaves doesn’t really matter–the point is RUN away from them as fast as you can.

I have nothing but scorn for those publishing businesses that prey on the dreams of new authors to tap their wallets and bleed them dry. There is an abundance of trip-ups and traps in alternative publishing. One tip-off is praise that is too lavish. Once they say the book will only need light editing–watch out.  Stephen King in his Author’s Note at the end of his recent book Dome, wrote “Nan Graham edited the book down from the original dinosaur to a beast of slightly more manageable size; every page of the manuscript was marked with her changes.”  If Stephen King requires heavy editing, what do you suppose a fledgling author might need?

Many claim that they will produce your book and market it through catalogs or other means.  Authors write to me about using these services and discovering, too late, that they are just a number, a notch in the publisher’s belt. After signing on the dotted line and paying their fees they were turned over to employees with questionable skills.  One author told me that when speaking with a graphic designer she was told to peruse clip art and select her own graphic for the cover.

This author sent me a copy of her book. I read it cover-to-cover because I wanted to know for myself if it was a worthy book. It was. It was an excellent book. The cover art, however, violated all of the basic rules of good graphic design. It utilized four different type fonts, and the graphic was a small smiley face. The design fought the intention of the book. The book’s message was serious and the cover was silly. There were other problems with the inside layout too. So the author paid good money to get her book produced and she should have kept it in the bank instead. Remember no one will buy your book if they can’t get past the cover.

Don’t, please don’t, place your precious manuscript into the hands of publishing grist mills who hire the incompetent, the unknowledgeable, or inexperienced just to keep their costs down.

A bargain price should be your first tip-off. When they offer you a special deal or are having a sale, run the other way. These companies do not care about you or your book, their only concern is that you give them money and they produce it as cheaply as possible so they can maximize their profits.

If your ultimate goal is to someday sell your self-published book to a traditional publisher, you won’t impress anyone if your book appears to be sub-par. Doesn’t your book deserve the best chance of success you can give it?

Last Saturday I presented a workshop at the Toastmasters District 15 fall convention. I called it Every Speaker Needs a Book. It is the truth; every speaker does need a book. If someone is going to stand before you in the capacity of “expert,” don’t you have the right to know that they are qualified?

We are living in a new age of publishing. We are seeing the rapid rise of the self-publisher. I liken it to the changes in the music business during the 1960’s. It started with Rock and Roll. This new music hit the music industry so quickly and so hard that the entrenched establishment couldn’t wrap their minds around it. Then came the Beatles, and the British Invasion. Every album the Beatles cut redefined the genre. Music experienced an era of creativity pushing up from the grassroots (no pun intended for the band called Grassroots). Every high school in the country had at least two or three starry eyed groups practicing in their parent’s basements or garages.

60's World Shakers

I try to imagine myself in the position of a record executive. Music is flooding in from everywhere. Groups with strange names, strange sounds, and strange behaviors are climbing the charts. What do I do? I can get on-board or try to wait out the insanity. The problem is that I don’t have any point of reference. There isn’t a definition of Rock and Roll. Almost anything goes. So, what do I do? I shrug and open the studios to just about everyone, hoping to find something the boomer kids will buy.

Today the floodgates are open in publishing. Why? Big changes in book print production have created this new era. In the past traditional publishers held all the strings. The cost for an author to go it alone was prohibitive to anyone but the rich. If someone decided to self-publish, their efforts were tagged  with the derogatory title of vanity publishing.

The rise of computer’s word processors and the development of digital printing have made it so reasonably priced that almost anyone could get in the game. Furthermore, there are e-books, and audio books. Finally, the Boomer Generation has grown up and there are millions, upon millions of people that think it would be groovy to write a book. As a boomer myself, I can tell you that our generation loved the spotlight. We marched, we rallied, we protested. We got our pictures in the paper when we did something completely egregious. Boomer was probably the right name because we were loud, intrusive, and obnoxious.

The boomers are the right people to lead the publishing revolution. We have never been satisfied with status quo. We are self-reliant, and don’t really trust the establishment. We know how to organize. The tribe of boomers is enormous and powerful.

If you get the idea that I am in favor of this revolution, you are right. I am in awe of what is transpiring. The Internet, Computers, Alternative Publishing methods, have breached the dam and I’m sure this is just the beginning.

Creating a book is only the first half of the job. It’s like the Yin, the Yang comes with promoting and marketing. TAP (The Author Platform) is a relatively easy program to follow to learn Internet marketing, selling through Amazon, and other methods. Click here for more information.

breathe in the ancient wisdom

I stirred up a lot of conversation with my blog post titled, “How Can You Call an eBook a Real Book?” Most of the chatter was on LinkedIn through the writing and publishing groups I belong to. I was very surprised to read comments from  self-confessed, dyed-in-the-wool printed book advocates who are becoming wobbly on the issue. Don’t throw in the towel yet.

eBooks have already seized our minds and our imaginations. The possibilities are incredible, all except one. Yesterday I tried to pull up a document on my computer. A dialogue box popped up that said the file had become corrupted. It suggested some ways to fix the file–none of them worked–so, I’m left with reconstructing the document. If I can.

What was here one moment is, whoosh, gone the next. I’m sure if I call my service tech at the Bomb Squad he could find it by going through the mysterious back doors. These are the places us mere mortals dare not tread. To go in there, even for a peek, could set up a chain reaction that might destroy the entire planet. It is not worth the risk. I have to weigh my options carefully, do I bring in the Bomb Squad and spend money I don’t have, or try to reconstruct the document, or let it go, like a loose kite floating endlessly and aimlessly through cyberspace?

Do you understand where I am going with this? Permanence is the question. Books whether written on stone tablets, sheepskin, papyrus, cotton paper, or wood pulp stock have passed the test of time. Doggone it–they last. They may not stay in tip-top condition, but they have longevity.

How long will your computer hold files intact until they start getting iffy, weeks, months, or years?  I expect to see eBooks purchased by the average buyer as having a comparable short shelf life. If the computer gremlins don’t get them, technology changes will. I have a book of poetry by Ralph Waldo Emerson in my library which must be at least 125 years old. The paper is brittle, and the binding is weak, but I can pick it up and read it anytime I want. No dialogue box will appear in my hand saying sorry the file is corrupt. Many of my other books are older than 40 years, even the cheap paperbacks. In a world where the average computer is ancient in five years, the possibility of a file hanging around for even 20 years is ludicrous.

The bottom line is electronic books are risky. You will have to replace them regularly if you want to keep them viable, or just get used to losing much of your collection each and every year. Now you see it–now you don’t. Paper to the people!

You’ve written a book. CONGRATULATIONS. 80% of adults dream of doing what you’ve done. A very small percentage actually do, so you are in an elite group. Hold your head high. You are now an author.

What, you don’t believe it? According to my Webster’s New Universal Unabridged Dictionary the act of writing is all it takes to become an author. If you wrote something, you are an author.

To become a published author is another thing altogether. For most of us the ultimate goal is to see our books in print and distributed to readers everywhere.  After all, what is a writer without a reader? It’s Yin and Yang. Two halves of the whole. As far as I’m concerned a manuscript in a desk drawer defines you as an author, but something definitely is missing.

There are only two approaches you can take to get published. You can do it yourself (self-publish) or find someone else to publish it for you (traditional publish). How do the two choices compare?

At first blush it appears that the easiest path is to sell your rights and let someone else publish your book. Let’s face it this is what most of us think of when we talk about being published. The biggest hurdle with the traditional publishing model is that  4% or less of manuscripts will ever become a book. And for that 4% there are probably thousands that never even make it to a publisher’s desk. It’s pretty obvious that if your manuscript doesn’t get read, it will not be published. I’ve said it before, if you are unknown, getting a book published through traditional channels is like winning the lottery. The odds are that bad.

Let’s compare the two methods and help you decide which way is best for you:

weigh your decisions carefully

1.  Who accepts the financial risk? If self-publishing you pay for all the costs involved in producing the book including the editors, artists, and printers. In traditional publishing the publisher takes on that burden.

2.   Who has creative control over the look and presentation of the book? If you do it yourself, you retain the rights. If you sell those rights to the publisher they can do whatever they think is best. That doesn’t seem important to you? It will if the publisher changes the meaning of the text through their editing, or comes up with a cover design that would lead readers to a totally opposite idea from what you meant. It happens.  Your only remedy you have is whining.  Selling your rights will give you money, but it may not give you peace of mind. Which is more important to you?

3.  Who arranges for distribution? If self-published, the burden is all yours. No matter how good the book is, please keep in-mind that some channels, like national bookstore chains, may not be available to you. Many booksellers have a policy against accepting self-published books, but If  your book is traditionally published, and your publisher pays for distribution, many of those guarded gates will be opened. It doesn’t seem fair, but that’s the game.

4.  What about marketing? Marketing is doing all of the things needed to promote the book, making fliers, public relations, appearing on TV talk shows, and radio programs. Issuing press releases, teaching seminars, speaking at schools, clubs, and wherever you can find an audience. You’d think that if traditionally published your publisher would handle all of this. Wrong. Most book contracts today require the author’s active involvement in promoting the book. That involvement is much more than showing up for the occasional book signing.  So, whether self-published or traditionally published, you dear author, must by contract, be hawking your book, mostly at your own expense.  If you don’t drum up sales your book won’t move, except from the shelves inside the store into the discount bins outside. If that happens, your chances of ever being traditionally published again are astronomical.

5.  Profits, ah profits, who gets the money? The one who takes the risk takes the money. If you are lucky you’ll earn between $.50 -$1.00 per book in royalties. Sell ten thousand books and you get $5 to $10 thousand dollars. That same book, if self-published, could generate $150 thousand dollars.

The self-publishing model is heaven made for those authors who believe in their product and are sure that they can find a market. It is costly and difficult to self-publish, but if you are right and you can successfully reach your readers, the amount of money you could make is much greater. You can have financial freedom and personal freedom as well.

Which way is best? It all depends on you. Either way, it will take energy, money, and lots of effort. After putting everything you have into it, it may not be enough. If the traditional route is the one you choose, the odds are that you will never be published. If you self-publish and can’t find your audience, your garage full of books will hang like albatross around your neck. But remember, that even though the odds are notoriously poor, someone always hits the lottery eventually. Who knows, maybe this time it might be you.

8 Must-Do Steps To Get Your Book Out In-Time

I’m preparing a seminar to present at the District 15 Toastmasters conference mid-November. The title is Why Every Speaker Needs a Book. It’s a good subject perfectly designed for the needs of my audience. The problem? My book I am writing for public speakers is far from ready. I have been working on it regularly but it isn’t complete enough to add the final touches, get it to an editor, and print it.

Some of the points I intend to hammer home have to do with speakers using their books as a way to gain credibility, and to generate income through back of the room sales. I wanted to have my book there to demonstrate how it is done. Instead, I’m feeling somewhat hypocritical. Does this hypocrisy diminish the value of the information? I hope not. We’ll see.

Even a Professional Can Fool Himself

In fairness when I announced my intention to have a book ready for the Fall Conference, my wife said that I didn’t have enough time. “I can do it!” I said in the most convincing cartoon super-hero voice I could muster.

Most of us need deadlines or we will procrastinate forever. Setting an unrealistic deadline really doesn’t help, it hurts. Now my dream of walking in with a box of freshly printed books and smiling as the attendees lined up to have me sign their books and tell me how much they enjoyed the seminar has gone poof.

Start Backwards to Go Forward

What is my point? Book production takes time and before you set an unrealistic deadline work backwards on a time line starting with the last step which is shipping. Ha, you thought I was going to say printing, didn’t you? No, in your planning you have to figure in the time to get the books to you. For example, if you are using a local printer same day is realistic. If you are printing overseas, plan on at least three weeks by boat and another week to get through customs. Then no matter what your realistic time line is, add more buffer to each and every step. In book production things rarely go as planned. Below are some points you need to consider to build a realistic time frame:

1. Shipping. allow one day to four weeks or more.
2. Printing. Expect two to five weeks. A soft cover book takes less time than a hard cover. Discuss time frame with the printer.
3. Typesetting and Layout. Should take two to four weeks for this stage. Expect to be actively involved during this step. Authors and editors must check, and recheck to make sure everything is right before going to press. It is cheaper to fix problems during this phase than it is at press. Scrutinize everything.
4. Proof Reading. Some consider proofreading to be part of the editor’s job and it is, but in my experience, you can’t have too many eyes on it. I once read that a new edition of Webster’s Dictionary goes through 132 proofing steps and they still find errors. Find a good proofreader you won’t regret it, but if you go to press with typo’s I guarantee that they will become glaringly obvious the second you crack open the book. Then the mistakes will haunt you. The only thing you will be able think about are the errors. Cut yourself a little slack. We’ve all been there. Remember that you didn’t see the problems after reading, re-reading, and reading your manuscript time and time again, so it is likely that most of your readers won’t see them either.
5. Editing. Check with your editor to determine the amount of time they will need. The type of book and size will make a lot of difference to the time frame. A fictional book will go faster than a technical treatise. With fiction, grammar, sentence structure, and spelling corrections will pretty much do it, but with non-fiction a re-check of the facts and understanding the technical terms takes time. My best guess is that an editor could do the job in three to eight weeks.
6. Cover Design. Here’s a piece of good news. Cover design can begin at the same time your editor starts and probably won’t add more time, with one caveat; you will want the editor to check the copy. Your cover, despite the old saw that says, “Don’t judge a book by its cover” is your first impression. If the cover doesn’t draw the reader, it doesn’t matter how good the text is. Time spent on cover design is worth it.
7. Marketing. It isn’t too soon to consult with book marketing professionals. You may hire them to give you general advice or have them work closely with the editor and artists. I recommend them, but you have to consider the price tag. Hourly rates, just like hiring an attorney, can quickly spin out of control. It doesn’t take long to rack up thousands of dollars.
8. Writing and Research. I’ve seen Internet ads saying that a book can be written in 14 days or less and I’m sure that some people could do it, but most can’t. Some manuscripts take six to eight months others can take years. Whatever the amount of time you need to take for writing and research is the time you need. Period. Again, add extra buffer because we all tend to underestimate what we can achieve and when.

I’m not saying that a book couldn’t be done much faster than the time frames I’ve outlined, but in preparing a good book, a book that will make you proud takes time. If you want a book to hit the marketplace in one year from now, it isn’t too early to get started. That’s what I’m saying. Get going, author, get going.

You may not believe this but after you have birthed a book, and getting a book out has much in common with birthing babies, the hard work begins. Finding readers is a difficult task indeed. Check out The Author’s Platform it’s a low cost, easy to use, step-by-step program to teach you everything you need to know about Internet marketing. I personally recommend it.

If you would like to receive notice of blog updates and other messages from me please register by entering your email address in the box on the upper left hand side.

Okay, I admit it; I am a printed book snob. I want my books printed on nice paper preferably with gilt edges and leather embossed hardbound covers, but that’s just me. When I buy a software upgrade I always pay extra for a disk. I have files full of paper backups from things I store on my computer. I just don’t trust electronics, I guess.

My wife, who is more technologically inclined than I am, insisted I buy a computer for my Print Brokering business some 18 years ago. So I went to my local Office Max, and spoke with their computer expert who looked to be all of fifteen years old. He advised that I buy the latest PC with the brand-spanking-new Windows Operating System. That sounded good, so I bought it and carted it home confident that my wife, who worked on computers at her office, would be able to teach me everything I needed to know. Wrong. She was working with DOS and knew nothing about Windows. I was on my own. It was like being on Survivor without a camera crew, producers, or other participants; I was all alone.

I read tutorials, hired teachers, bought “easy to use software” before I learned that it was easy to use for the programmers who created it, but not for me. Despite my reticence I slowly I started to gain ground on this beast of convenience.

But it wasn’t long before I discovered the meanings of my C Drive crashed, my hard disks collapsed, and the computer froze. The admonition to save often made sense after losing a day’s worth of work. Then I found out about gremlins. Somewhere in the bowels of the malicious computer machine exists an intelligent life form whose only purpose is to make sure that the actions you perform today, will not work tomorrow, even if you meticulously repeat them.

This is the long road around to saying that I like many of us in the 50+ generation; have difficulty accepting anything made of electronic blips as friendly. As soon as you rely on them they erase themselves, become unintelligible, or transform into gigantic city stomping lizards. Well, maybe I went too far with the lizard thing, but you know what I mean. Heaven forbid you slip and drop them on the floor. Whether you are reading through a Kindle, an iPhone, or some other device drop it and like magic you’ll discover whether your credit card is maxed. On the other hand I can drop my printed book, pick it up and go on with my life. My credit card is untouched.

Is it inevitable?

So the question remains, is an e-Book a real book?  Somebody out there thinks so; e-Books are racking up the biggest sales numbers in the entire book market averaging an astounding 55.7% annual growth since 2003.  Compare this with all the other types of books from Adult Hardbound and Paperback, Juvenile Hardbound and Paperback, Book Clubs, Higher Education, etc. which grew a mere 1.04% annually (excluding sales for the Harry Potter series) in the same time period.

Here’s the shocker, do you know who are buying Kindle Readers by the boatload? The 50+ crowd. My peers. e-Book sales grew 183% among seniors aged 65+ and 174% among seniors aged 55-65. And here I was counting on older folks to save printed books.

Must I raise the white flag and surrender? 1.04% annual growth against 55.7% growth in e-Book sales is persuasive. Imagine fighting a war where the odds were 55 to 1. Can anyone say General Custer? My punishment for doubt is to write on the board 500 times, “e-Books are real books, e-Books are real books, e-Books are real books…”

How do you market an e-Book? Use the Internet. How do you learn how to use the Internet to sell e-Books? You can do it the hard way or the easy way. The easy way is The Author Platform. And you can test it for no money down. How’s that for an offer?

If you would like to receive notice of blog updates and other messages from me please register by entering your email address in the box on the upper left hand side.