Announcing an A-Z and DIY Book Publicity Course — with Me!

Announcement

(Note: as of 15 January, the early interest form is closed. I expect to launch the course this week. If you are still interested in being part of the early interest group, however, email me and I’ll handle it.)

Hello again, friendly readers! I am pleased to announce that this winter I am launching a course on Udemy. It will be on DIY book publicity, which I often talk about, but it’s going to be a total package, an A-Z course on what I do for my clients, how I do it–and how you can do it, too. If you are interested in knowing when it launches, enter your info here. The people who tell me they are interested using this form will get first dibs and a discount code for the course if they join in the first month! Feel free to spread the word if you think you know someone else who might be interested. If you refer three or more people who enroll in the course, you’ll get something extra special just for you.

If you take the course you can look forward to knowing how to identify the best places to get publicity for your creative work, what to say when you contact them, and how to keep the whole thing organized. You’ll also get office hours where I’ll be available for Q&A, a message board just for fellow students in the course–and lots more. Sign up now to be among the first to know when it’s live, and get yourself that discount on tuition the process.

Goals and 2015 Wrap-Up

2015 was the year of nearly no blog posts for  me. While I don’t foresee ever being a particularly prolific blogger, I’d like to offer you more value this year.

See, the thing with my Book Marketing without BS brand is that if I have nothing to say, it seems silly to me to create a blog post to say nothing or to repeat myself. That said, I think I can do better than I have. I have retained some topic suggestions from the last time I asked people what was on their minds, but please let me know (in the comments or by email) what topics you’d like to see with regard to book publicity and marketing.

Those are my goals. What are yours? What do you look forward to this year? And don’t forget to tell me you’re interested in my course so you can reserve an earlybird discount code.

Fall Workshops: First Lead-Up Exercise for Twitter

Hello again, everyone! I have two social media for authors workshops coming in September, one in Pickering and one in Brampton. In preparation I have exercises participants can work on over the summer. They will then bring the results with them to the workshop on the day they attend.

Since I am doing this in conjunction with BeNovel Marketing Services, the exercise is hosted on its site. Go take a look, and if you are in or have friends in the GTA, please share this with writers you think may be interested. Early-bird pricing has a few weeks to go and you won’t want to miss out on the hefty discount for getting in on it early!

Register here (scroll down, the registration is right on the page), and view the Twitter Challenge exercise here.

Coming soon: tips for editing comic book scripts.

Self-Planning for Self-Promotion: A Book Marketing without B.S. Web Workshop

I am doing an in-depth online workshop on self-promotion for all authors and comic creators. This isn’t just for the self-published, either. If you’re published by any house, big or small, you know how much work falls to you for your own book marketing and publicity. In fact, it’s telling that my clients primarily fall in the small-to-medium publisher category, with the next largest being major publishing houses. (And yes, I have a few self-published/owner-created comics clients, too!)

Right now there are two dates: Thursday, March 27th at 7 p.m. Eastern Time and Sunday, April 13th at 1 p.m. Eastern Time (get those tickets here). I will do this again a few times a year as long as there is interest, so if you miss these, let me know what time is good for you and I will take that into consideration when I schedule the next one. (Also, if you can gather 6 or more people interested in the workshop, I’ll create another event at a time chosen by your group.)

Here is a tentative course outline:

  • Pre-Planning
    • Honestly determine your strengths and capabilities
    • Choose the right tools for you
    • CreateSpace and other print-on-demand vs. traditional printing vs. ebook-only
    • Decide whether to create a business entity or publish under your own name
  • First Steps
    • Plan and Outline
    • How far in advance to send review requests?
    • How far in advance to hire help if you are going to?
    • How to get blurbs?
    • Publicity: interviews, guest blogging
    • What about traditional media?
    • One-sheets for mailed books
    • Book trailers and other video
  • Details
    • How many and what type of targets?
    • Get your data right here!
    • Review copies: physical vs. electronic
    • Keep consistent, good records
    • What does return on investment mean in this context?
    • Social media: tips, tricks, and useful apps
  • Obstacles
    • Toughening up to criticism–or how to cope if you can’t
    • Connections and networking: more important than you think
    • Growing too fast: slow follower growth is GOOD
    • The importance of honest people
    • Self-publishing and industry respect
  • Q&A
This should all take between 90 minutes and two hours, depending on how many questions there are–and please do bring questions! Also, feel free to email me questions ahead of time if you don’t see them addressed in the outline and I’ll do my best to work them into the material.
Buy tickets here:
I look forward to meeting with you soon!

Self-Promotion for Authors and Comic Creators Webinar Update: Timing Survey

Hi, all! I am planning that webinar on self-promotion for writers and comic creators sometime this month. It’s an update and expansion on the free talk I gave at SFContario this past fall. I plan to charge somewhere in the neighbourhood of $15 for the session, which I expect to take 1.5 to 2 hours. If you’re potentially interested in this, take this survey to help me get an idea of the best day and time to run a session. I’l consider two sessions if necessary, or even more, depending on response, so tell me what works for you and I’ll make a schedule late this week. Anyhow, here’s the survey for your radio button-clicking convenience:

Create your free online surveys with SurveyMonkey , the world’s leading questionnaire tool.

Self Publishing Comics Panel Report: A Guest Post by Ricky Lima

This past January there was a comics self-publishing event at PAMA (a local art gallery and historical archive). On the panel were Sanya Anwar (Site | Twitter), Ricky Lima (Facebook | Twitter), Jason Loo (Site | Twitter), and David Bishop (Facebook | Twitter).  I was unfortunately unable to make the event, so I asked Ricky to tell me about it in the form of the guest blog post you are about to read. I hope you enjoy it, and let me know if there are similar events in your city you might like to report on. 


Bishop, Loo, Anwar, Lima (L-R)
Photo credit: Stadium Comics

Peel Art Gallery, Museum, and Archive is hosting an exhibit dedicated to graphic story telling. The gallery has an awesome collection of original pages from True Patriot which is a comic anthology focused around Canadian stories and superheroes. To go along with the exhibit PAMA  organized a couple of panels and workshops about the comic industry. I was asked to run a panel on independent comic self publishing. I gathered a jolly crew of fellow self-publishers and we spoke to a crowd intent on independently creating comics. David Bishop, Jason Loo, Sanya Anwar, and I split the panel into four categories: inception, creation, production, and marketing.


Inception

In this first segment we discussed how a creator gets their ideas. It was interesting to note that creators can’t create in a bubble: everything we talked about was inspired by something else. Sanya’s book 1001 is inspired by the old story of Prince Ali Baba, and Jason’s webcomic is an expansion on the Star Wars universe. All the panelists made it clear that it is important for a creator to consume everything they possibly can so they can learn as much as possible. As strictly a writer I’ve always been told that I should be reading 24/7. While I think that is true, I feel that it’s a little misguided in that the scope is too narrow. As a creator you should be consuming 24/7. Not just reading, not just looking at art, but consume everything you enjoy, and sometimes things you don’t in various. This way you’ll be a well-rounded creator with a fresh perspective for any medium.

Creation

The next portion focused on techniques people use to get the work done. It all boiled down to, “Just do it!” The panel agreed that creators often get caught up in their own head and don’t actually get anything done. World building is great and thinking up every single detail can be beneficial, but there reaches a point where thinking about it simply won’t do. David explained to us how he had a very specific time for creating. He wakes up super early before work and makes comics for an hour or two. Everyone’s process is different but the most important thing to remember is that if you’re not doing it, it’s not getting done.

Production

The most technical portion of the panel was when we talked about production. When getting things printed it’s very important to understand what technical terms like “bleed” and “CMYK” are before you begin (FYI: Bleed is the area around a page that will be cut off, and CMYK is a method of blending colours. Computer screens use RGB and printers use CMYK, this creates a slight difference in colour from screen to paper). Different printing houses were discussed as well, major recommendations were given to Toronto’s Guerrilla Printing and Houston’s LithoNinja. Printing comics can get pretty expensive so it’s important to find a printer that has prices that fit your budget.

Marketing

Finally we discussed how to market our books. In comics we’re lucky because we have such a great support group of comic conventions that allow us to meet people interested in comics and picking up our books. Cons are the lifeblood of an indie creator and should be used to their full potential. At a con you can create a lifelong fan and repeat customers. From there, thanks in part to social media, you can connect with them and build the relationship. In the comic industry we’re also lucky that a sizable portion of our audience are digital natives (i.e. people born during the internet age, so they are completely comfortable with digital reading). The internet is an extremely useful tool in connecting with fans all across the world and should be used effectively and consistently. Personally marketing is my personal favourite part of the comic game because it allows me to meet the people who are reading my book and ask them what they think. I love hearing what people think and seeing how they react to the book and if they have an feedback that’s even better. Our book grows through feedback. 

The self publishing panel held at the lovely PAMA building was informative for all. The panelists and myself stayed after for a couple of hours to answer people’s questions. I met a ton of cool people in Brampton who are longing to do amazing things. To me that’s the most important part of any city: people with ideas. I like to think that the self publishing panel inspired some of those people to go out and get things done. I know seeing people so excited inspired me to continue doing cool things and getting my work done.

Winners Announced!

Thanks once again to everyone who entered and who shared and tweeted. Your support is fantastic and I couldn’t do this without you. This has also been a great chance to promote my non-publicity campaign services, of which there are many you can see here. Some of my favourites are social media planning and coaching, and copy editing, and even though it’s not officially on the list, I enjoy critique as well. It’s likely to end up on the list at some point. So please contact me and ask about these other services. I can work with any budget, so don’t be shy.

Anyhow! here are the three winners:

Karina Sumner-Smith Site | Twitter
Jessica Meddows Site | Twitter
Teri Kline Twitter (and yes, I know the name on the Twitter account doesn’t match this. ;))

I have been in touch with all of them, and it is my hope that I can help them and also have some fun in the process.

I know many of you joined the email list to enter the contest. I hope you’ll stay, but if not, you should be able to unsubscribe easily from the next email you get, or if you’re in a hurry contact me and I’ll take care of it for you.

Coming tomorrow, a guest post about a local self-publishing in comics panel, and next week it’s back to regularly scheduled programming!

Enter Here to Win Free Consulting or Critiques!

Subscribe (and confirm–check that spam email box!) to my email list and you will be entered to win two consulting or editorial hours. You can use the time toward:

  • Help creating your book or comic’s marketing plan
  • A complete flash fiction critique and copy edit
  • A full social media consultation and plan
  • A brief critique of a novella or a partial of a novel 
  • Website critique/planning assistance
  • Any other publishing- or marketing-related consultation time

Three winners will be selected at random from mailing list subscribers who have joined and confirmed by clicking the response link (remember it may go to a spam filter) by 11:59 p.m. Eastern on Wednesday, February 19th.

Not sure how to join the list? Subscribe right here.

Note that the prize will be delivered no earlier than March 15th, 2014. I will work out final details with the winners, whom I will announce on Thursday, February 20th.

I’ll take this opportunity to also remind you that I provide all of the above services at reasonable rates, so if you aren’t the winner, contact me and let me know what you need and we’ll put together a plan that fits your budget.

Good luck, and spread the word to anyone you think may be interested!

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!

How to Handle Social Media Missteps: Book Marketing without B.S. #9

Twitter is often an important tool in the writer’s networking arsenal. It’s fast, it’s short, it’s connected. Author Peter V. Brett was reminded last week that those strengths are also its obstacles. Today’s blog post is to illustrate that being careful how you compose tweets about controversial or sensitive topics makes a difference, and how you handle it when you misstep makes an even bigger difference. (And if you’re active and engaged, it is likely that you will at some point make a social media mistake.)

A Social Media Problem is Born

Last week’s genre author twitterstorm was set off when Peter retweeted the following:

How did you read this tweet? Some people took it as he intended (more on that later), but many, many people took Peter to mean any number of things like “It’s not fair I can’t have more rape without people complaining about it” to “I am making light of a serious topic” to many other things, none of which he intended. It should be noted that Peter has had some controversy about rape in his novels before too, so–fairly or not–he may already have people feeling unsure about his sensitivity.

So he didn’t mean it? You’d think I was just taking his word for it; but,  here is his next tweet, posted just a minute after the first one:

If you saw the second tweet, you’d likely get a meaning closer to what Peter intended; but, the problem with Twitter is that the tweets flow by fast and furious, and seeing one is never a guarantee someone will see the next one. I am guilty of dividing thoughts up into two tweets sometimes, so I can understand why it would happen. The low character count feels too limiting sometimes; but, this is a lesson to us all that a complete thought in one tweet is a best practice, especially when it’s a sensitive topic such as rape. So what can you do to prevent this on the front end?

Stop and Think

While Peter’s intention was good, much like editing in your writing, his meaning would have been much clearer if his second tweet had been his first tweet, and there had never been a second tweet at all. Usually you can be casual on Twitter, but when sharing (again, especially sensitive material,) it is best that you take a moment and consider how it might look to someone else. Put yourself in someone else’s shoes and imagine. If you’re creating  and writing, this should be something you already do anyway.

It is important to always remember that the only thing we’re in control of as is what we say. We can not control how others perceive what we’ve written, how they’ll feel about it, or what they’ll say about it. 

Best Way to Handle a Social Media Problem

Problems like Peter’s really can happen to anyone. The internet moves so much faster than you could ever anticipate, and it seems bad news travels further and faster than good news. We all have the potential to tweet something that either we should just plain not have said at all, or more commonly, that will be taken in a different way than intended. Maybe you’ll realize it right away and delete it in time. Maybe you won’t. And if you don’t, and you want to handle it with grace, dignity, and humility. In my estimation, Peter handled this (mostly) well. What lessons can you draw? Here is what he did right:

His response was swift
Instead of letting it fester without comment (one of the worst things you can do with your “brand”,) he replied quickly and profusely. No one could doubt Peter was doing his best to manage the issue in a timely manner.

He stayed calm and rational
He got a defensive at a few points (more on this and the language of apology later), but given the harshness of some people’s reactions and how fast things were moving, I can understand his feeling how he did about it. Overall he kept it sane and decent. He never called names, he never got into any nastiness beyond initial defensiveness.

He expressed remorse
He apologized numerous times and admitted he could have done better and that he understood the other people’s points of view.

He had humility
Even to defenders, Peter said he understood how the tweet was interpreted and expressed that he wished he could have handled things differently. He could have just soaked up his numerous supporters’ comments and used them to say “See? You people who misinterpreted this are just plain wrong!” but, he did better than that. Here is a good example:


Finally, he put his money to work by donating to a related charity

This was a class act kind of a move, and can never hurt.

What should you do if you have a social media problem?


React quickly, calmly, and evenly as possible
You’ll undoubtedly be feeling emotions such as defensiveness, anger, annoyance, and embarrassment; but, from a public relations standpoint you have to put those on the back burner. If you are not able to do that–at least in writing–ask a trusted friend for help in composing your response.

Also, take responsibility completely
That’s the one area Peter could have improved on. His apologies were touched with the “I apologize to those who took my comment that way” and ” I apologize for wording that could be interpreted as such”. This (I assume unintentionally) serves to put some of the responsibility back on the offended party, and also doesn’t indicate any sympathy for the people who were upset–which is important in smoothing over feelings. Better phrasing would have been something along the lines of, “To those I hurt by my earlier tweet, I offer my apologies. I was not careful in composing my earlier RT. I’ll do better in the future.” It removes the “if you took it wrong” language, and turns it into “I am 100% accountable” language. Even if you don’t fully feel that way on the emotional level, that’s how you apologize. That’s how you take responsibility.

I should also say that I don’t mean to pick on Peter. He did well on the spot and under a lot of pressure. He is not trained in PR and let’s be real: writers don’t have the money to have staff to help with this sort of thing. I was simply inspired to write about it to help all of you understand how easily this might happen to you, and more importantly how to handle your own social media problem situations as they come up.

I hope you found this useful. I’d be interested to see other situations you think were handled well (or handled badly) if you want to share them in the comments.


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. 


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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!