Category Archives: Money!

Earn a Salary by Writing Novels? Not So Fast.

Books as stairs to publishing successVictoria Strauss of Writer Beware assesses a start-up, “De Montfort Literature,” that promises to hire writers for $24,000 a year plus royalties just to write novels. Strauss and John Doppler from the Alliance of Independent Authors find that there’s a lot less to DML than meets the eye. If you’ve encountered this kind of proposition and it intrigues you, READ THIS CAREFULLY.

For my own part, I take exception to De Montfort’s claim in an interview with The Guardian that in contrast to his arrangement, “self-publishing is costly and time-consuming.” Not so. Anybody with the time and self-discipline to write a novel will find plenty of excellent how-tos that make it possible to publish online in a matter of an hour or so. My book, You CAN Format Your Print-on-Demand Book! is just one of many that make publishing your own paperback the work of just a few days.

Authors have never had so many options and so much freedom. Don’t sell yourself short!

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Filed under business of writing, Copyright, indie publishing, Money!, novels, Print on Demand, Publishing, publishing contracts, Scams, Self-publishing, Writing

Don’t Google to Find a Publisher: So Says Victoria Strauss!

So many books!

Here’s another of Victoria Strauss’s valuable words-to-the-wise about the business of becoming a published author: what can go wrong if you type “Find a Publisher” into Google. As always, Strauss provides an excellent Writer Beware list. Her spotlight on the scams writers face is one of the most valuable resources writers can consult.

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You Get Free Book Promotion Every Time You Leave A Comment – by Derek Haines…

Chris the Story Reading Ape regularly shares Derek Haines’s posts. Pay attention! They are always worth a read. Here’s another one I’m going to put to use, starting today!

Chris The Story Reading Ape's Blog

on Just Publishing Advice:

Blog commenting is the easiest way to promote your book for free

There are hundreds of ways to promote a book.

You can use free and paid book promotion sites, write a blog post every week and offer free books.

Marketing your book to find potential readers is a non-stop effort if you want to sell your book,

If you have published more than one title, you will know how much hard work is involved in keeping the buzz going for your books and ebooks.

Encouraging people to take an interest is not easy and is sometimes counterproductive.

Direct approaches using social media or even your email list often only achieve very low click-through rates, and poor conversions to book sales.

But when people accidentally stumble upon you without you coercing them, the results can be surprising. In SEO speak, it is called organic traffic.

The…

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How to Evaluate Small Publishers—Plus Digital-Only Presses and Hybrids – by Jane Friedman…

Thanks to Chris the Story Reading Ape for making this terrific Jane Friedman article available! I’m closing in on the decision as to whether to self-publish or go the traditional route with a small press, so this article is a godsend!

Chris The Story Reading Ape's Blog

In my annual chart,The Key Book Publishing Paths, there is one column that is most vexing and problematic for writers to navigate: small publishers.

Into this category falls some of the most prestigious publishers you can imagine, that can boast of New York Times bestsellers, and that writers dream of working with.

But it also includes publishers that started up last year out of someone’s home office, run by people who may not know anything more about the publishing industry than you do.

Continue reading HERE

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Filed under business of writing, ebooks, indie publishing, Money!, Myths and Truths, novels, Print on Demand, Publishing, publishing contracts, reversion of rights clauses, small presses, Writing

Is It Worth Your Time to Pitch Your Book?

Book in dramatic sunset landscapeOver at Indies Unlimited not too long ago, I ran across this comment from multi-award-winning author @MJBowersock:

[A]nyone who has not already been published, who is not a name that people recognize and that will draw sales, will not win a publishing contract with a traditional publisher. It’s like winning the lottery. It could happen, but the chances are, it won’t.

That’s not quite the kiss of death to our dreams of one day breaking into the publishing big time (the big houses call themselves “legacy” publishers now, Bowersock says). But it’s close.

Books as stairs to publishing success

So my question is, what about all those conferences that bring in rafts of agents and editors who claim to be starving for new talent (like you and me)? Are they scamming us? Do they consider a day at a conference listening to pitches some sort of paid vacation?

If Bowersock is right, I guess so. And our chances of coming away from a conference with real hopes for a contract are nil. Conferences aren’t cheap. Pitching is scary. Why go through such an ordeal?

Here’s one answer: because there are benefits from pitching to actual editors and agents that you can’t get any other way.

I’m not suggesting that any writer invest thousands of dollars in conferences. But I am arguing that a judicious choice of conference at the right moment in your process can be worth at least as much as what you’re paying for that cover or that expert to format your text—

—Because pitching gives you several kinds of feedback you won’t get from any other source.

Publishing success is like a sunny day

You know what you get from query letters: “Sorry, we’re not the right agency for this book.”

What about your writing group? I consider writing groups essential. But the members of your writing group read as friends and colleagues. They don’t read as business people, charged with making money out of your book.

And therein lies all the difference. They hope to make money off of you!

I’m not plugging for any conference, but I’ve been to quite a few, and I’m sharing my experience. I’ve learned things from pitch sessions that no one else ever told me. I’ll do it again.

If you do decide to pitch, be sure to make your investment count:

  • Be ready. Don’t rush to a pitch session with an unspellchecked draft while you’re still trying to figure out whether your main character’s hair is black or red. Exhaust your writing groups and beta readers first.
  • Review the faculty to make sure you can pitch to people who work with your genre. Make sure they work for good agencies and aren’t just somebody’s Facebook friend.
  • Get one-on-one critiques as well as pitches. If at all possible, pay extra to have the right person at the conference read a query letter or a first page and meet with you so you can ask follow-up questions. Pay for “pitch practice” if you possibly can.

Your words fall into your book!

Here are the kinds of questions you can get answered even if there’s scant hope of a contract. They’re the questions you would pay an editor to answer, and Lord knows good editors aren’t cheap.

Do I know what my book is about?

You can muse all day with your writers’ group about your story question, your main character’s goals, why she can’t achieve them, how her journey ends, and so on.

In a pitch session, you have five minutes to lay it out. Five minutes with a steely eyed editor daring you to make him buy it. Get tongue-tied with that agent smiling ever-so-sweetly at you?

Then you haven’t figured it out.

Seeing that stare glaze over or that smile turn to a frown tells you that it’s time to take a good look at your structure so next time you’ll know what your book is about.

What’s derailing my book?

When was the last time you got a response from a query that said, “Sorry, here’s why we don’t want your book.” [Interject sound of strangled laughter from author]

In contrast, you’re three minutes into your pitch, and Steely Eyes says, “I don’t understand why anyone would do that.” Sweet Smile says, “That sounds like a really unpleasant character.” They both say, “I’m lost.” (Often followed by a specific hint as to where and how the road signs got turned around.)

Yeah, I know, if they’d just read the darn book, they’d get it. But the fact is, you’ve just recited part of the back cover blurb that will make readers buy the darn book, and now you know a few things that can turn readers off.

And you have specific issues beyond just-not-good-enough to consider before your next submission: motivation, characterization, style.

Is my idea the high-concept, totally original, million-dollar gem I think it is?

Agents and editors see hundreds of ideas in your genre. You may well be asked, “How is this different from all the other books I’ve seen recently about crazed werewolves in New Jersey?” That five minutes will tell you whether you know the answer to that.

How does my work stack up with someone who is not my friend?

Really, it all comes down to this one: An agent or editor at a conference does not need to make you feel good.

They don’t need you to be in the mood to give them friendly, constructive advice at the next writing group meeting. They don’t need to keep you happy so you’ll hire them again the next time you need an editor.

They’ll give you your five minutes, but after that, they’ve got twenty other people lined up, one of whom might have THE BOOK they came to the conference to acquire.

So the instant they know your pitch isn’t clicking, they won’t string you along.

Pitching at a conference isn’t the way to learn how to make your structure work or how to make your concept a stand-out. But it’s one sure method of finding out fast how close you are to those goals. The day the frown is accompanied by a business card and a willingness to take a look, you’ll know you’ve finally managed to answer the questions that will sell your book.

Book publishing success

Do you have advice for making the most of pitch sessions? Share!

 

 

 

 

 

 

 

 

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Filed under business of writing, Editing, Finding agents, indie publishing, Learning to write, looking for editors, Money!, Myths and Truths, novels, Publishing, Self-publishing, Writers' conferences, Writers' groups, Writing, Writing and Learning

Copyright: What’s the Big Deal?— By Julie Barlow

Though it’s about Canada, Barlow touches on an issue that affects us all. She writes, “When I Google my own work, I discover so many sites offering free (i.e., illegal) PDFs of my books that I can’t keep track of them anymore. And neither can my publisher.” I basically gave up trying to address this problem. Maybe it’s up to readers not to buy from these sites? As Barlow writes, we all fall prey to the idea that if it’s available online, it ought to be free. American copyright law doesn’t address this problem, either, and, as is often the case, the Canadian example can be instructive.

So how to spread the word among readers? What do you think?

QWF Writes

The Federal government is in the process of revising the Copyright Act. If you don’t think that matters to writers, think again.

I’m always surprised to see blank stares on writers’ faces when I launch into a speech about copyright. Some of them aren’t clear why copyright really matters. Others aren’t sure what copyright even is. Fair enough—it’s not the sexiest topic in the writing world. But even if you don’t notice it, it’s fundamental to our business.

Here’s why. I am a non-fiction author of six books and a magazine writer. To earn my living I sell the right to use my work, either to publishers who pay me advances and royalties or to magazines who pay me fees to publish my articles. For most of my twenty-five-year career, this revenue has constituted most of my income.

Simply put, copyright law is what makes it possible for me to…

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Common Book Marketing Traps to Avoid…

Some useful advice from marketing expert Penny Sansevieri via Chris the Story Reading Ape. A reminder to me to a) get more proactive about marketing, and b) to get that next book out. I’ll go work on that now!

Chris The Story Reading Ape's Blog

By Penny C. Sansevieri  on Book Works:

There’s a ton of information out there for indie authors. However, there is also a lot of misinformation, too, as well as outright lies about book marketing. And indie authors are left in the cold to sort through the truths, semi-truths, and non-truths for themselves. Which means that you may end up figuring out the best path through trial and error, falling into common book marketing traps in the process.

Because I believe that empowering authors to follow the best practices elevates the whole industry, today, I’m taking some time to set the record straight.  Indie authors, read on to learn some of the biggest book marketing traps and pitfalls and how to navigate around them for the best success.

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