Archive for the 'marketing' Category

Student readers are eagerly waiting for our books

Hey, I’ve got a great idea. Why don’t we all write our books for, and sell them to, college students?

Students read a lot of books, right? And they’ve got money to burn. All we have to do is get our work adopted as required textbooks, and we’ll be rich. Students always buy whatever books they’re assigned Wordle: Hey, I've got an ideafor every course. We all know that. If we format our books for the Kindle DX, we’ll really corner the market because young readers love any kind of new technology.

Well . . . Maybe not so much.

Take a look at The Battle of College Textbooks Begins Anew, SurveyU’s examination of college students’ textbook buying habits. You may be surprised. Graphic by wordle.net. JK

From stet, the newsletter of the Independent Writers of Chicago

July Meeting Reprise
There wasn’t an empty seat in the room as two-time IWOC past president Jim Kepler told a rapt audience how we could take material we might have already written, put it together in book form, publish it, and then use the book to promote ourselves for other jobs. He had a solution for those who don’t have enough related clips too. It started with “Take a box…” (or a virtual box, i.e., a computer folder). From there he gave us step-by-step instructions on how to compile materials on our topic of interest, how to define our chapters and our focus, and so on. Kepler also had a myriad of tips for shameless promotion using our newly minted book. Hint: if you’ve never written a press release, now would be a good time to start. He advised starting small by sending press releases to local civic and social organizations and offering to be a speaker. From there, you can parlay the little fish into bigger fish. To find out more about this excellent presentation, you can download or read the detailed handout on the members-only landing page.

[Not an IWOC member? Click on http://www.adamspress.com/, add a note under “Comments,” and I’ll send you the article and handouts. JK]

Writing a book? Start at the end.

People occasionally tell me they’re writing a book. When I ask them what it’s about, more often than not they begin by telling me it’s totally different from anything ever before written about their subject—a truly unique approach. And then they launch into a long-winded, rambling description that tells me they haven’t yet figured out the most important aspect of the book: FOCUS.

Leaving aside the possibility that their book might, indeed, be a radically new take on their theme, their inability to state a succinct premise means they’re going to have a hard time writing it and a harder time selling it to an agent or publisher. They’re too caught up in telling me what they want to write instead of focusing on what a reader might want to read.

I don’t mean to imply that every author must be so market driven that he or she can be successful only by pandering to the buying public. Authors should not lose sight of the integrity of their work and the importance of their point of view. But if they want their book to be read—and isn’t that the reason for writing it in the first place?—they need to consider what will make their audience want to read it.

If you’re a budding author, here’s a suggestion that might help you get your book into the hands of your target reader: Write the blurb first.

What’s blurb copy? That’s the text you’ll find on the inside flap of a hard cover dust jacket or the back cover of a paperback book. It tells briefly what the book is about; it’s the pitch that is intended to sell the book. Blurb copy is an important element in the purchase process.

A customer entering a bookstore first looks around the store for orientation to decide where to begin browsing. Once he or she gets to the section where your book is shelved, the customer scans the selection looking for an eye catcher. Some of the books will be face out on a shelf; most will be spine out. For books face out, an attractively designed front cover will grab the browser’s attention. If the customer cocks his or her head to the right and reads the array of titles shelved spine out, he or she is most likely to pause at the quirkiest or most descriptive or most boldly legible titles. Book designers who concentrate all their efforts on the front cover and add spine copy almost as an afterthought do their authors a disservice. With the thousands of titles that even a small bookstore stocks, it’s not possible to display every book face out; the spine has to help make the sale.

The purpose of a book cover is to encourage a browser to want to pick up the book. The design may be words alone or an illustration—photograph or drawing—that relates to and compliments the subject of the book. The title and subtitle should pique the customer’s interest.

What does a customer do after taking a book from a bookstore shelf? Most browsers will turn the book (paperback) over or open the cover (hard cover) to read the jacket blurb. Imagine you’re that browsing customer. Ask yourself what would interest you enough to want to actually leaf through the pages and read a couple of sentences. That’s what you as an author should put in your blurb. That’s the focus, the appeal, the pitch that will help sell your book. With luck the customer will go on to check the table of contents, perhaps read a page or two, and then decide to take the book to the cashier.

*   *   *

It’s unlikely that the blurb you write now for the book you’re planning will ever actually be used. But you should still do it because

1. It will help you make a sales pitch to an agent or editor.
2. It will help you focus on target readers who will want to buy your book.
3. It will help you stay focused as you develop your book. Tack it up above your computer.
4. It will help the marketing and publicity departments work out a sales plan.
5. It will help you create sound bites to use during promotion appearances and interviews.
6. It will give you a quick answer to the question: What’s your book about?

Unless you self-publish, in the end a new blurb will probably be written by someone in the publisher’s marketing department. Also the artwork you originally foresaw anchoring the front cover illustration and the title you’ve been using since the book’s inception will undoubtedly be changed for marketing and promotion reasons.

None of your first blurb-writing attempts is wasted, however, because each step you complete on your way to a finished manuscript is an important component of your book as a final package, a focused package that will have maximum appeal to many book buyers.

It all starts with your blurb. JK

“Come, Watson, come! The game is afoot!”

“It’s a game of Whac-a-Mole,” said Russell Davis, an author and president of the Science Fiction and Fantasy Writers of America, a trade association that helps authors pursue digital pirates. “You knock one down and five more spring up.”

This time the game has to do with copyright violations and the posting of books on the Internet without permission from their authors or publishers. And there’s not much point in calling Mr. Holmes and Dr. Watson in on the case because there’s little likelihood the thieves will be caught. It costs too much time and effort to pursue them, and as author Steven King sees it, “The question is, how much time and energy do I want to spend chasing these guys . . . [a]nd to what end? My sense is that most of them live in basements floored with carpeting remnants, living on Funions [sic] and discount beer.”

Literary pirates see books that have been published in PDF versions or digitalized for Kindle or Sony Reader downloading as easy prey. One publisher alone, John Wiley & Sons, claims to have sent take-down notices to more than 5,000 violators during the past month, a figure that’s up more than five times from a year ago. Wiley now has three full-time staff persons whose job is to track offenders.

Mokoto Rich, writing in the New York Times, says, “Sites like Scribd and Wattpad, which invite users to upload documents like college theses and self-published novels, have been the target of industry grumbling in recent weeks, as illegal reproductions of popular titles have turned up on them.”

Digitalizing books, then, seems to be a double-edged sword: Yes, it may make the book more widely available, but there’s also the risk that the book could be illegally picked up, entirely or in part, and displayed on a site that does not compensate either the author or the publisher. What do you think? Digitalize or not? JK

1…2…3…Gone!

How’s this for a book title: Fleeced: How Barack Obama, Media Mockery of Terrorist Threats, Liberals Who Want to Kill Talk Radio, the Do-Nothing Congress, Companies That Help Iran, and Washington Lobbyists for Foreign Governments Are Scamming Us … and What to Do About It.

Really makes you want to curl up on a rainy afternoon and dive right in, doesn’t it?

Author Dick Morris—or more likely some marketing genius at HarperCollins—burdened his book with this10-line, 205-word winner.

David Baker, writing in MediaPost’s blog email|INSIDER says, “The average consumer spends less than three seconds scanning titles of books on a bookshelf in the store, and then spends roughly 20 seconds scanning the contents before making a decision to either purchase or sit down with the book to research further. We have turned into a culture of top 10 lists and recommendations.

“It’s not surprising that publishers recommend book titles that are three words or less. Much of the focus of book marketing today is on the design of the cover, the author’s bio and leveraging recommendations.” JK

About Amazon, BookSurge, and agents

Wondering whether it’s worth bowing to Amazon’s demand that you self-publish only through BookSurge, which, interestingly, Amazon just happens to own, in order to sell your book online? Take a look at The Future of Publishing? Self-published Novel Wins Major Literary Award for an interesting take on Amazon, BookSurge, and literary agents. Obviously something has been lost between the promise and the reality of amazon.com. Do authors who choose to self-publish really need this kind of headache? I don’t think so. Promotion is tough enough already without having Amazon get in the way. JK

Bad days for big publishers. Good times for small presses.

The big guys are in trouble.

Budget cuts, low advances, canceled releases, layoffs, early retirements, pressured resignations, consolidations, pay reductions, discontinued imprints. You name it, and trade publishers are cutting it.

Barnes & Noble, the country’s largest chain of bookstores, with 800 outlets, predicts a dismal holiday sales season. (I was in a B&N store on Saturday, a couple of weeks before Christmas, and while it was fairly busy, there was nowhere near the crowd I saw at the same time last year.) Borders, with 500 stores, has so far managed to survive serious threats to its business, but it, too, expects a slow gift-giving season. Even Bible sales are down.

Obviously, the downturn in the economy is affecting the book trade and large publishers, which, in many cases, are part of much larger corporations and conglomerates that are, themselves, on the skids. For small presses—those that publish just three or four new titles a year—and for authors who choose to self-publish, however, this may well prove to be a pretty good time. Why? Because the little guys have a far better idea of precisely who is going to buy their book(s). Big publishing houses gamble every time they bring a book to market. They send their sales representatives out to place their new releases in stores, but in a way they’re flying blind; they don’t really know whether the fresh list will entice retail shoppers to pick up the books and carry them to the cashier.

Many self-publishers and small presses, on the other hand, have the opportunity to define their lists more clearly and relate them directly to their market. They know who is likely to purchase them. If they don’t—if they haven’t figured that out before publication—then surely they won’t invest their limited resources in publishing their books. Small presses have the ability to be nimble and the luxury of waiting until the time is right for their books. Big publishers have to release two or three lists, each of a hundred or so new titles, every year in order to maintain their niche in the market. Their investment is huge, and they have to rely upon the general public to go to an online or brick-and-mortar bookstore and buy their books. Many small press books, on the other hand, are not even sold through bookstores; their publishers approach their customers directly.

When a big New York publisher pays an author an advance of hundreds of thousands of dollars, it must sell minimally about 75,000 copies of the author’s book in order to be successful—and it’s not really dead certain who its customers are for any particular title. Small presses have a more intimate relationship with their customers and can better control costs (print runs, price, targeted promotions, shipping, returns). Their return on investment may be lower in dollars but higher in percentage of profit. Example: Doubleday, part of Random House, took a chance on first-time author Andrew Davidson’s The Gargoyle and paid him a $1.25 million advance. Even though the book was very well received critically, Doubleday, unfortunately, hasn’t yet recouped its advance—fewer than 40,000 copies sold, as reported by Nielson BookScan. Do the math: At a list price of $25.95, sales fell several thousand dollars short of expectations. JK

Borders off the market

With the economy in shambles and stores large and small closing every day, it appears Borders / Waldenbooks bookstores will weather the storm and is no longer for sale—at least for the moment. Although their sales are flat, in this nosediving economy that can be seen as a plus. JK

Subsidiary rights

Your book may enjoy a life well beyond that of conventional bookstore sales or of being merely pages bound into a paperback or hard bound cover. In general—and there are very specific legal definitions—subsequent permission to publish and market a work to a specific buying public or in a format other than its original book form can loosely be termed a subsidiary right. And such a right is a commodity that can be sold, giving your book greater income producing potential beyond its initial publication.

Other formats can include movie, TV, and now Web adaptations; translations; audio or video recordings; book club editions; merchandise tie-ins; premium offers; and, of course, ebooks. You can find more information at the Publishing Law Center Web site.

I once ghostwrote a book titled Fire! Survival and Prevention, which the publisher, Barnes & Noble Books division of Harper & Row, sold to manufacturers of smoke detectors and fire extinguishers to give away to purchasers of their products. To our (mine and the publisher’s) surprise, the book was also picked up both by Doubleday and Literary Guild Book Clubs for use as a pro bono premium to their subscribers.

Lucy Shaker’s book Looking Back, Looking Ahead: A History of American Medical Education, one of our Adams Press books, generated interest both from a medical college and an insurance company as a premium gift. Another Adams Press book, Kathryn Clarke’s novel The Breakable Vow, is the foundation for a multimedia presentation that includes the book itself, an instructor’s manual, audio tapes, CD, workbook, and a facilitator-led presentation that is marketed to state attorneys general, law enforcement agencies, and mental health professionals for use in workshops focused on dating and domestic violence. After selling 12,000 copies herself, the author of that self-published work sold her book to a traditional royalty publisher.

You can probably think of many, many tie-ins based upon books. Some titles have become entire industries all by themselves: J.K. Rowling’s Harry Potter series; Steven R. Covey’s The 7 Habits of Highly Successful People; and the books and book-related products of Martha Stewart, Wayne Dyer, Suzanne Summers, Deepak Chopra,  and countless others.

Very often the opposite happens, and books are commissioned by organizations and individuals who have already achieved success in their own field and want a book to add to their product line. ComPsych, for example,  is the world’s largest provider of comprehensive employee assistance programs. Adams Press publishes books for them to offer as resources to their client companies, books that are not available to the general public; so far we have written, designed, and printed Paving the Way to a Smooth Relocation, Living the Healthy Life, Charting the Course to College, and Solving your Day Care Dilemma—with more on the way. The Adams Press logo appears nowhere on the books; ComPsych is the publisher.

Similarly, we produced Charles Remsberg’s new book titled Blood Lessons: What Cops Learn from Life-or-Death Encounters for Calibre Press, whose books are among the product lines sold through the PoliceOne Web site. JK

Are you a writer? Really?

Wondering what to do while you’re waiting to sell your first million books?

Write.

Write to build credentials, confidence, and prestige.

Write for practice. Write for experience. Write for money.

Think of yourself as a writer. Tell people you’re a writer. BE a writer!

When asked, or when you find the opportunity to slip it into a conversation, describe yourself as a writer—but not a freelance writer. If you think you need to add a qualifier, say you’re an independent writer or an essayist or a novelist or an author. Why? The perception of freelance writers often is that they’re out of work and trying to make some money until they can land a full-time job. They get the same respect as someone who says he or she is working as a temp. You know, and I know, that temps generally work just as hard—sometimes harder—as their coworkers who are “on staff.” But that dismissive attitude is always there: Why doesn’t he or she have a real job? The same applies to freelance writers. Which is not to say you can’t be employed in a related or totally different field and still be a writer. A lot of successful writers (and painters, musicians, and other creative types) have done just that.

Independent writers are viewed as professionals who take their work seriously; it’s how they earn their living as self-employed contractors. Many independent writers (or illustrators or actors) earn some or most of their income doing something else while devoting as much time as they can to their creative endeavor. The impression you should strive to project, though, whether you’re writing full time of part time, is that this is your business; this is what you do. You are a writer.

Improve your skills
There’s no question: The more you write, the more comfortable and capable you’ll become with your craft. Good (and marketable) writing is both an art and a skill—an art insofar as invention and creative expression are concerned. Many of your skills as a writer can be learned, however, and are not necessarily wholly dependent upon actually possessing a great artistic talent. You can learn structure, syntax, and diction. You can learn grammar and how to produce a workmanlike product. Sure, I’m assuming here that you have at least a modicum of native ability and a proven capacity to use words to convey abstract ideas. After all, you certainly wouldn’t undertake to do any serious writing if you didn’t have at least some measure of facility with words and a good foundation in the mechanics of spelling, punctuation, and usage. Lacking those abilities, you’d undoubtedly be happier and better suited to following a different path.

Although practice doesn’t always make perfect, it does help improve both your skills and your marketability. The better writer you become, the more likely you are to gain the respect of your readers, and the sooner you can begin earning some (more) income from your work. Exactly how much might there be to be earned? A lot depends upon the type of writing you choose to do. Poetry, essays, and short stories? Very little. Journalism? A bit more. Business writing, such as newsletters and brochures? Still more. Web support and technical content? You’re moving up. High-end advertising, on-air scripting, speech writing? A very comfortable income.

Corporate clients usually pay more than not-for-profit organizations. If you can consistently turn out winning grant proposals, whether for commercial corporations of nonprofit institutions, you’ll never go hungry. If making your mark in a particular discipline is your highest priority, choose to woo clients who not only can use your services but who can also direct you toward others, especially respected leaders, in the field. If earning maximum dollars is where you want to concentrate your efforts, join and use influential professional societies, build relationships with key decision makers, maximize opportunities, and brush up on etiquette and self-presentation. JK

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