Category: Budget

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A Promise of Better Craft in Self-Publishing (or Slow the Eff Down): Book Marketing without B.S. #10

The other day Chuck Wendig shared a blog post he wrote entitled “Slushy Glut Slog: Why the Self-Publishing Shit Volcano Is a Problem“. You should read it, assuming that some “shit” and “fuck” aren’t going to be offensive to your delicate sensibilities, and particularly if you’re thinking about taking the self-publishing path or starting a small publisher. It’s already up to almost 200 comments, including a long one from Mark Coker, founder of Smashwords. Stick with reading it even though it’s long and it may piss you off. It’s not an anti-self-pub screed; but, a way toward a solution that elevates independent writers–and to be perfectly blunt–a number of small publishers, too.

Anyway, I won’t rehash Chuck. He breaks it down so well that there’s no point in my repeating it. Just read.

So… why exactly did you share this as a “Book Marketing without B.S.” column?

I am so glad you asked. It’s because the flow of the shit volcano reaches my doorstep, too. Now that I accept queries from potential clients, I see work that ranges from amazing to decent to incomprehensible to despair-for-humanity-inducing. The worst ones never reply when I (invariably) suggest obtaining the work of an editor. Well, sometimes they send a nasty reply back, but mostly I take the silence to mean that they stick their fingers in their ears and say “la la la la”.

I haven’t banned self-published authors (and indeed, some of my fine, fine clients are small publishing house and self-pub), but the vetting process for small publishers and self-publishers takes up valuable time for which I do not get paid. I don’t typically have to work this hard at vetting work from medium and large publishers. So in a real and fully tangible way, self-published authors and small publishers (you know the ones I mean: they’re made up of one harried person who is putting out too many books per year and thus isn’t spending enough valuable time editing) cost me money. Someday I may decide I don’t want to pay anymore.

So here is my point that I feel fits nicely with Chuck’s blog post:


Slow down

I know you’re excited because you think you’re done with your book; but you’re almost certainly not finished. Walk away for several days or weeks so that you can return to it with fresh eyes. You probably need an editor which you can get for low cost if you can’t afford the most experienced people. Or perhaps it is time to look for a really good writers group. Or at the very least cultivate friends who aren’t afraid to tell you when something could be improved in your writing. And let’s not forget the cover art issue: bad cover art is debilitating. Invest in your cover to the best of your ability.

If you want to put out your best work, you can not be in a hurry to publish. It’s about getting it right and putting out a quality product, not about how fast you get your book to market. If you are in a hurry because you’re counting on sales of your books for financial support, you are likely making a mistake. Well, unless you’re already a known author; but, I imagine if you are that you already know this anyway. If that’s not the reason, then why rush this thing? You will, rightly and justifiably, be judged by this product, so make it the best it can be. Slow. The. Eff. Down.

Don’t forget that part of the reason more traditional publishing is slow is because the books go through multiple edits and re-writes, and even when all that happens there is often still more that could be done, So why would you think that your first or second draft that no one else has ever looked at was ready? Even a second draft after a few people who just say “it’s good!” isn’t going to be much help either. Every writer needs an editor–a real editor, not just a yes man–who can help them find structural problems and inconsistencies and typos and strange word choices. You’re not any different, which is fine. It means you’re in good company.

Even Smashwords’ Mr. Coker says in Wendig’s comments, “It takes a village to publish great books.” So don’t do it alone, not because I have sympathy for your overworked plight (nearly all writers are overworked, my special little muffin), but because the best quality books are simply not put together alone. Find your team, the one that works at the level you can afford, however that looks. Be prepared to let things sit for a while. Be prepared to accept constructive criticism and suggestions for edits. Be prepared to re-write.

So make yourself the promise of editing, re-writes, and patience. Make yourself the promise of craft. Even if the way poorly published independent books bring the whole thing down doesn’t matter to you (and it really ought to), it should matter to you whether or not you put out the best work that you can. You’ll do better in the long run in the most self-interested of ways, and I’d like to think the entire big, messy community will get better, too.

Book Marketing without B.S. is a weekly publicity and marketing advice column for writers and other creators who prefer a realistic, clear, and no-nonsense approach. My goal is to help you cut through the bullshit with direct, understandable advice you won’t be embarrassed to follow. Sign up to get my posts sent directly to your email by clicking here, and please send your questions to beverly@beverlybambury.com. Thank you for your continued support!

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Amazon Exclusivity and KDP Select: Book Marketing without B.S. #7

Book Marketing without B.S. is a weekly publicity and marketing advice column for writers and other creators who prefer a realistic, clear, and no-nonsense approach. My goal is to help you cut through the bullshit with direct, understandable advice you won’t be embarrassed to follow. Send your questions to beverly@beverlybambury.com.

Once I began working independently of a publisher, I ran into an issue that I hadn’t dealt with before: exclusivity with Amazon’s Kindle Direct Publishing (KDP) Select program. From a publicity perspective I found it frustrating, as I have contacts affiliated with other book-buying outlets and I am unable to call on them in exclusivity situations. Why would they help with a book they can’t sell, after all? Still, I know it is more complicated than that, so here are some thoughts. I hope you’ll share yours, too.

I want to make clear that I have no problem with authors and publishers who choose to use the KDP Select program. I understand why. What I am bothered by is Amazon’s program itself. Since people make a large percentage of sales through Amazon, they’re often going to be tempted by the higher royalty rate, or rather, seek to avoid the punishment of the 35% royalty rate. There are other benefits as well, such as five days of being able to offer your ebook for free download (though Amazon has nerfed the impact of that  by changing the visibility of the top free books list) and members’ books are available for free borrowing by Amazon Prime members, which may net more reviews and definitely nets a share of money.

In a fascinating article by Eoin Purcell,  he compares KDP Select’s desire for exclusive content to Netflix’s production of exclusive content. The point that sticks out the most to me is that it reduces user churn. In other words, Netflix wants to keep its current viewers as much—if not more—than it wants to attract new ones. It does this in part by producing and purchasing content that only appears on Netflix. Netflix then promotes this content and funnels it to viewers’ eyeballs.

While we have no direct evidence of this one way or another, it makes a lot of sense that Amazon may be trying to do something similar. It wants to keep people paying for Amazon Prime membership, and one of those benefits is free borrowing of ebooks exclusive to Amazon Kindle. It’s no-overhead income for Amazon. Indeed, retaining subscribers is a big moneymaker for pretty much anyone who does subscriptions. While Purcell contends that Amazon is getting this exclusive content without paying for it, I’d argue that it’s paying for it with higher royalty rates. Still, they’re not paying publishers and authors what they probably should be given the extent of the benefit to Amazon, and given that all the work of writing, editing, layout, marketing, advertising, and publicity falls squarely on the creators and publishers.

Purcell raises another interesting point when he says that Amazon also gets to see how self-published authors sell during this exclusivity period, which gives them an edge in possibly offering publishing contracts for Amazon Publishing, and of course scads of general sales and marketing data, all paid for (in many ways) by publishers and writers.

One thing that was previously difficult for creators and publishers to control was the timing of promotional pricing. It was hard to predict exactly when it would kick in. Now Amazon has introduced Kindle Countdown, which lets one set parameters of timing. But, naturally, one has to sign up for KDP Select to use it, creating yet more pressure for exclusivity, when someone really ought to be able to schedule the dates and pricing anyway.

How big is the benefit to creators? Many argue that it’s not worth the exclusivity to limit yourself. I myself don’t have any experience that is definitive one way or another. Two publishers I’ve worked with prefer to go this route, but others don’t. I can’t argue with the ones who like it when they feel they get a consistent benefit from it, after all. Still, both publishers are fairly young and neither had large marketing and publicity campaigns (of which I am aware, anyway!) prior to doing the exclusive arrangement.

This piece by Jane Litte over at Dear Author raises a really good point that gets to one of the reasons I feel uncomfortable with exclusivity. It starts to feel (to me, not in Litte’s words) a bit like the “company store” phenomenon. What Litte does say is that it can be dangerous because with all your eggs in one basket, what happens if the bottom drops out of the basket? Remember when Amazon removed lots of erotica? What if they come for what you write next for some reason? I know that’s a long shot, but exclusivity gives them complete control over that if they choose to exercise it. What if they decide to change terms in some other legally-covered way? You’ve undoubtedly agreed to a host of terms and conditions when you go with KDP Select, and Litte points out that Amazon changes terms at other times writing, “Just recently they increased the amount you have to buy in order to get free shipping from $25 to $35.” Do you fully understand what you signed when you joined KDP Select?

She also argues that exclusivity harms readers, too. Litte says that by reducing or eliminating competition, some of the drive for innovation—and thus perks for customers—disappears. If Amazon has no competition, they don’t need to win your business. They’ll be the only game in town, then we’re back to the company store of books. Again, though, I can’t blame people for doing it. When most of your sales come from Amazon, and Amazon sweetens the deal, then what’s a struggling small publisher or self-publisher to do?

In any case, many people have looked at this more closely than I have, and authors have generously written about their experiences. You can read, in addition to the above, the below interesting posts, and I am certain that a quick search will net more.

To sum up, on a purely theoretical basis I encourage people not to use Amazon’s KDP Select/exclusivity; but, in the pragmatic sense, I understand why people use it, and I still gladly work with publishers who are part of the program. We all have to work with the resources at hand, and when money is tight (and when isn’t money tight for a small publisher?) then we take what we can.

I am really interested in your experiences and I can even do a follow-up post about what readers are willing to share. Contact me at beverly@beverlybambury.com if you want to discuss your KDP Select experiences. I imagine there is a wealth of experience out there!

Keep those questions coming, and sign up to get my posts sent directly to your email by clicking here. Thank you once again for your continued support.

Remember, I am on blog hiatus until the second week of January. Happy New Year, everyone!

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The Cheapskate’s Guide to SF/F cons: A Guest Post

Today’s guest post by Effie Seiberg goes through some handy tips on travelling to conventions on a tight budget. It would be easy to extrapolate some of these tips into general travel on a budget, too. Part of why I put out a call for this topic is that beginning in January I’ll be full-time freelance, and paradoxically, this means I’ll need to go to more conventions in a professional capacity. But. You know. With less income. So thanks again to Effie for all of her tips, and I’ll be seeing you around at as many conventions as I can manage in 2014.
I’ve always wanted to be a writer, so in January I did the exact thing people tell you not to do: I quit the “real world” for a year to write. Writing full time is fantastic, but with no income coming in (and a professional need to go to cons) I had to be very strategic about which I went to, and how. The fear of starving and dying is a great one to promote some frugality, but I still managed to go to FogCon, BayCon, Westercon, WorldCon, and ConVolution. So, here are some tips on keeping the costs way down but still getting your con on. 1) Prioritize.
There are a million awesome cons, and you’ll need to balance how awesome they are with their costs. The most expensive parts are usually the plane tickets and the hotels, so if there are any close to you where one or both of those don’t apply, start there! I’m lucky enough to live nearish to where several local cons were held. I also added WorldCon as my one expensive con, just because it’s so big, has amazing people there, and has the Hugo awards.

2) Keep down the travel costs.
I live in San Francisco, where I’m lucky enough to have several local cons around me. FogCon was in Walnut Creek (an hour away), BayCon in San Jose (an hour away with no traffic, three years away with traffic), WesterCon in Sacramento (90 minutes away with no traffic, until the end of time with traffic), and ConVolution in Burlingame (20 minutes away).
Driving: If you can drive or take public transit to your con, it’s probably going to be cheaper than flying. Cons frequently have parking validation for whichever hotel they’re in. At ConVolution, a daily $33 parking pass turned into a daily $10 parking pass. Carpooling with other local buddies is good to split gas and parking costs.
Flying: Airfare: If you must fly, set up a fare alert for your route in advance on a site like airfarewatchdog.com, and wait a bit. It’ll tell you how the price of those tickets might be changing day by day, so you have an idea of what the cheapest flights really are. You can also use a site like hipmunk.com to find cheap seats, but bear in mind that they don’t include some of the smaller, discount airlines like JetBlue or Southwest, so you’ll need to look those up separately.
Flying: Everything else: Airports are great ways to squeeze you of your hard-earned dimes. Bring a solid snack to help avoid the temptation of the tiny $7 bag of M&Ms, and pack everything into a carry-on to avoid baggage fees. You can do a whole week’s worth of stuff in a single carry-on, and I say this as a gal who likes her hair products. It takes a bit of tetris-ing, but it can be done.   

3) Keep down the lodging costs.

This is the second large cost of any con, and is often the biggest. If you’re relatively close by, drive back and forth and avoid it altogether. Yes, it’s a pain to drive 90 minutes home when you’ve already gone to several parties, but you’ve just saved $170 by doing so. If you must use a hotel room, you have several options.
Find it cheap: the con will have a discounted rate at the preferred hotel. That’s great, but there may be even better deals nearby. For WorldCon, the con hotel was about 30% more expensive than the hotel I found, and my hotel was closer to the conference center where everything was held. Look on sites like hipmunk.com and expedia.com to see what’s around. You can also try airbnb.com for cheap rooms, but they’ll usually be a bit farther away from where the action is.
Split the costs: roomies are great! If you have a friend from a writing group, a fan board, a costuming club, or whatever, share a room to split the cost. As a bonus, you’ll have someone to talk to late at night.
Crashing in a room: your mileage may vary on this one. As a female I’m disinclined to do this unless I know the people very very well. But that said, if you do know people who have a room and don’t mind you crashing there, you can usually get a cot from the main desk (at Westercon it was $15/night) which you can roll into the room. If there isn’t room for one, you can DIY it by asking for a lot of extra pillows and blankets, and build up your own little nest in a corner. You’ll get weird looks at about the 5th extra pillow, but it’s worth it. Lay a line of pillows down to make a makeshift mattress, then a blanket on them to roughly keep them together, and then you plus a blanket and another pillow go on top of that.

3) Frugal food.

At a con, you’re running from place to place with barely any time to get anywhere, so scouting out a cheap place to eat isn’t always an option. Hotels know this, and charge exorbitant amounts for what is often really bad food (thanks, $6 coffee swill that’s been sitting in the bottom of the coffeemaker all night).
Bring your own: Yeah, I’m the person with granola bars and fruit in my bag. They don’t take up a lot of room, and you can quell your munchies quickly. If you’ve driven, you have a whole trunkful of space to put food to bring with. Nuts and granola bars have protein to keep you sated, fruits and veggies have fiber to fill you up, and most of them don’t need refrigeration. (Protip: do not leave your fruits in a very hot car all day. Apples might survive, but softer fruits like cherries will ferment and stink. I tell you this from experience.) Bring some cookies and such to share, too!
The con suite: The Secret Masters of Fandom at one point decided that cons should give out food, and hooray for them. Con suites usually have light snacks like fruits and veggies and cheeses and chips, plus coffee. They ask that you don’t just use the suite for your three squares a day, but you can wander in and grab what you need. Especially free coffee. Did I mention the coffee?
But everyone’s going to a restaurant: Yeah, sometimes this is what’s going to need to happen. If your favorite author invites you to join and you get starry-eyed at the mere mention of their name, you’re going. You can either go nuts and suck up the cost, or you can fill up on other food prior (your own, the con suite) and just order something light. You’ll still get to go, and a single appetizer won’t set you nearly as far back.
Drinks: This may be the hardest one on the list. You can of course bring your own, but then you’re that sad person drinking alone in their room. Most parties will just give you alcohol, so start with those and get your drink on. If you’re going to barcon (you know, where people have their own little con at the bar), you can always order a ginger ale instead, which is far cheaper. Especially since you still have your buzz from the parties.

4) The Dealer’s Room, the Art Show

Oh dear god, the dealer’s room. Where merchants specifically attuned to your needs and interests bring out their wares and spread them in front of you appealingly. And then the art show, where you find everything your walls have been missing. A few good ways to keep to your budget:
The “Little Luggage” Technique: Only buy what you can fit in your existing, tiny luggage. And you’re already squashing a fair amount of stuff into just a carry-on.
The “Cash Only” Technique: Set a budget in advance, and put it in cash in your wallet. Once it’s gone, it’s gone. No plastic.
The “Gifts Only” Technique: If you can justify it as a gift for someone, great. Nothing for you though. Those are too easy to justify. The enormous broadsword is awesome, but would your brother really appreciate it enough for you to spend the cash? Nah, he’s not that cultured.

5) Happy Tech

I don’t know about you, but I need my devices happy and healthy for a good con experience. I take my laptop for taking notes, my phone for following what’s going on on Twitter, and a veritable rat’s nest of cables.

Connectivity: The rule is that the nicer the hotel, the more they’ll charge for wifi. Different hotels will give you differing amounts of connectivity, but most will have free wifi in the lobby. Hang out there when you can, when you need your internet time. If you have an unlocked phone, or a plan with tethering, you can make internet happen through your phone instead (this is what I tend to use). Do be aware that if you’re going through your phone, you may need to pay attention to how much data you’re using. You don’t want to hit your limit and get throttled. And finally, you can avoid all of this if you go phone-only for everything and not even bother with a laptop or tablet. Unless you’re in a black hole or the bowels of the San Antonio Conference Center, a few bars will do the trick.
Power: Not exactly a frugal trick, but keeping your devices charged keeps them usable, which sometimes tells you when someone has an extra case of beer/cupcakes/whatever that they need help getting rid of. Bring a power strip, and you’ll be everyone’s new best friend.

So there you go. You can get pretty cheap with cons and still get to go to a bunch while avoiding the whole “starving and dying” thing. Have fun!

Effie Seiberg lives in San Francisco near a sculpture of a pirate bunny with a skull in its mouth. She’s a graduate of the 2013 Taos Toolbox writing workshop and is shopping around her first novel, a comic fantasy which is a snarky romp through chaos theory, with an ostrich. In a previous life, she worked in Silicon Valley tech. In a previous previous life, she was a lab rat with machinations to take over the world. Things change.
You can follow Effie on twitter at twitter.com/effies or on G+ at google.com/+EffieSeiberg, or just check out effieseiberg.com if you don’t feel like committing to continued interaction.

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