The Future of Publishing, Part 2

Session Four: The Future of Publishing, Part 2
Novelists, Inc. Conference St. Pete Beach Oct. 2014

If you have a better sense of what you have going in to your career, you have a better chance of coming out where you want. You should have an audio book, because people are busy and commuting.

Globalization means growth in market places around the world. There is a huge global market for English language books.

What’s coming? Specialization of content, shorter content, fan fiction, micro-content. People are reading but not necessarily a novel. They read blogs, Facebook posts, and other material. We need to figure out how to monetize these things.

Another futuristic innovation might be micro-transactions where the reader clicks a button to send a dollar to an author. There will be more collaborative efforts like ACX, translations, and author collectives. Another trend might be personalization in how content is served. We need to be ready to embrace change and accept opportunities as they arise.

There’s a shift of empowerment toward authors because of technology. This is the slowest the change will go as it is right now. But you, the author, must continue to produce the very best book you can, or nothing else matters.

What authors need is data about what readers want and where to find them. The Book Industry Study Group collects book data. How do we turn this data into usable information for our careers? New retail models are coming. The digital disruption is going to be very destructive. Agents may go away [or they can be useful for subsidiary rights]. On the other hand, things are changing and that’s frightening, but they’re going to move forward.

When will there be an “Authors United”? Authors should use their scale to push our issues.

Brick-and-mortar booksellers have a disadvantage when a hardcover sells for nearly $30 and an e-book sells for $9.99. Retailers are concerned about surviving this price differential.

Windowing your release dates is crazy because readers will buy books in all formats. Your book should be released at the same time in e-book, paperback and hardcover. These are not different audiences.

We haven’t seen peer retailing emerge, and we need to be prepared. People communicate around the world in E-commerce. We need to be ready to sell directly to readers and to analyze the data on discount sales and on what platforms people want to receive their books.

Check out Wattpad, Payhip and Hugh Howey’s authorearnings.com

Note: Any errors in this article are due to my interpretations. As many ideas flew back and forth during each session, I mention what I gleaned from the panels, and you can take from it whatever serves your needs.

So what trends do you predict? And how are you preparing for them?

See all of my Photos in the Ninc album on my Facebook Page

Coming Next: BookBub

Rights for Authors

Session Three: Rights: Yours, Theirs and Ours
Novelists, Inc. Conference St. Pete Beach Oct. 2014

What will bring back the career authors who have more sales and control with indie publishing? “The job of the publisher is to provide the author with a platform. Print books are essential to this,” said one speaker. “It’s our job to help you amplify your voice to readers. Readers want to connect with the author. Finding a social media audience should be up to the publisher.” But another panelist said authors are often expected to show up with a platform.

Publishers are reluctant to buy books previously indie published. There’s a price differential from a $2.99 indie e-book to a $7.99 e-book with a traditional publisher, and readers balk at the difference. The customer is also different going from digital to bookstore. You’re selling to a completely different audience.

More transparency and true negotiations are needed to attract writers back to traditional publishing. What we need are term limits for authors to get their rights back. The out-of-print clauses for publishers are operated from a sense of fear that something they let go will take off and become a bestseller. Publishers need to brag about their good contract terms instead of being afraid of the competition. They need to show more transparency regarding the terms they offer.

It’s useless to get specific marketing promises from a publisher. Technology changes as you go along, and some of the activities promised may be based on sales figures. That type of legal detail is a waste of time and energy. But you should have these conversations outside of the contractual agreement.

Publishers are interested in what kind of future you, as the author, can project. They’re not interested in your backlist as much as your frontlist when they seek to acquire you.

The non-competition clause was discussed. Is it really necessary? Authors say it’s a career destroyer. They don’t believe they’ll cannibalize their own work as publishers fear. Publishers are worried about saturating the market. Print books need time to get into bookstores. They worry about quality control with self-published works that authors might offer in between traditionally published novels. Authors would love to be hybrids but not to the detriment of making a living if they can’t publish a new book for a certain number of months as per their contract.

The big five are pretty much not taking print rights only and letting authors keep their e-book rights. E-book royalties produce a huge profit margin for publishers.

Publishers are going to look at a successful indie author to see if she’s peaked. Could she benefit from transitioning to traditional publishing to pick up a new audience? You can’t assume your track record will carry over. It will not work for your backlist only. You need new books as well. How can the publisher use this backlist to carry you over from one world to another?

Regarding the 25% net royalty for e-books that is standard for traditional publishers—is the overhead in their fancy New York offices really necessary in the digital age? Publishers make a profit even before the author earns out an advance. Successful authors can still get a raise on their advances.

See all of my Photos in the Ninc album on my Facebook Page

Coming Next: The Future of Publishing, Part 2

Pricing and Discoverability

Session Two: Yo! Here I am! Buy Me!
Novelists, Inc. Conference St. Pete Beach Oct. 2014

The general reader mindset changed with the advent of lower-priced, self-published books. One speaker encouraged higher prices than $.99. For that low price, he feels readers aren’t as vested and are more likely to give a lower rating. Also, the reader may not stick around to read a $.99 book as opposed to a higher priced book. Customers like lower prices, but that doesn’t mean they won’t pay more for what they perceive as value. Millions of customers are willing to pay as much as $15 per book. Traditional publishers can price lower and indie pubs can price higher. These two have to come together.

You can use pricing as a discovery tool. Price lower for your backlist titles or for one day as a marketing promotion. BookBub is where readers download free or cheap books to discover new authors. If a reader likes the book, they will buy other books by that author. The audience who subscribes to BookBub trusts them to offer books of a certain quality. Multi-author box sets can also drive discoverability. [Author’s Note: Also check out The Fussy Librarian]

So the $.99 deal is a great way to meet readers and get acquainted. Don’t feel you have to price every book as low as $2.99 or $3.99. You must have a pricing strategy. For example, make the first book permafree and price the others at a higher rate. Making the first book in your series free helps all your sales.

Kobo promotes the first free in series. They say an average of 54% of people who finish reading a book will go on to read more books by that author. Kobo curates the front-page material for their website.

Books in a series will sell better than standalones. But you don’t have to have books in a series per se if you can link them in a smart way. For example, one author had “the first kiss club” for clean, teen romance although each book is a standalone.

Your e-book is a living document, so put links in your new books to your backlist titles. The back matter is very important.

An average of 18 audio books is consumed by Audible subscribers in a year.

One speaker feels that subscription readers (for services such as Kindle Unlimited, Oyster, or Scribd) are a different market than readers who would buy your book.

It’s not easy for librarians to find indie authors on Overdrive. But another speaker said profits from the library market are relatively small compared to the retail market for successful indie authors. The following services were mentioned regarding libraries: Overdrive and BiblioBoard.

Lunch was served next, tempting us with deli sandwiches and an array of desserts. We had time to schmooze with friends before moving on to the afternoon panels.

Here I am with Ann Meier from Florida MWA and there’s Leanne Banks at the dessert table.

See all of my Photos in the Ninc album on my Facebook Page

Note: Any errors in this article are due to my interpretations. As many ideas flew back and forth during each session, I will mention what I gleaned from the panels, and you can take from it whatever serves your needs.

The Future of Publishing, Part 1

Novelists, Inc. Conference St. Pete Beach Oct. 2014

The Novelists, Inc. (Ninc) conference is the only writers’ conference focused solely on the business of writing. To become a member, you must show proof of two published novels. This is not the place to promote your work, pitch to agents or pick up new fans. It’s primarily a learning experience. You go here to learn what’s new in the business, what’s to come, and how to approach the many aspects of running a small business in the publishing field.

Of course, meeting old friends and making new ones is the benefit of any conference and this gathering was no exception. People came from across the country, enjoying the perfect Florida weather and beachfront setting.

Photo 1: Nancy J. Cohen, Annette Mahon, Carole Nelson Douglas, Laura Resnick
Photo 2: Nancy J. Cohen, Terry Odell, Karla Darcy

Photo 3: Donna Andrews, Carole Nelson Douglas, Nancy J. Cohen
Photo 4: Sophia Knightly and Nancy J. Cohen

First Word Thursday: The Future Of Publishing, Part 1

Any errors in this article are due to my interpretations. As many ideas flew back and forth during each session, I will mention what I gleaned from the panels, and you can take from it whatever serves your needs.

Nine industry guests discussed the partnerships between authors, publishers, and agents. Journalist Porter Anderson moderated.

A partnership is a power relationship. Consider where the power lies in each transaction. Ask yourself what your skills are, what partners have complementary skills, and who has the scale to utilize these skills to your benefit. Partnership implies equality, but at the end of the day, it’s your business and what you, as the author, have created. You want partners who can connect your book with a wide audience in new ways. Also, know the financial health of your potential partners.

One speaker was concerned that companies with enormous “scale” had their own agendas. They focus on profits rather than on promoting each title in a sustainable way. Publishers are making more profits today and more margin on e-books even when they say they’re hurting. Incumbents like the Big 5 are the least likely to innovate.

As an author, try to retain as much control as possible. Allow for new avenues to explore but examine them from all angles. With the advent of new technologies, look for shorter terms in your contracts so these new models can be tested and evaluated.

The key to partnership is mutuality. Traditional publishers must be more willing to let their writers go, because once your titles go backlist, you lose the mutuality. Print on demand and e-book publishers should not keep a book in print unless the author is making real money.

Competition drives innovation. Google could become a viable competitor to Amazon.

The most important relationship an author has is with his readers. What you write has to connect with your readership. Write consistently. Target your audience and determine how to reach them. Continuance between the author and reader is important whatever the distribution route. Unfortunately, often authors talk to other authors and sell to other authors. Focus on your readers.

Bringing back the mid-list has been the biggest benefit of digital publishing. However, there’s a glut of writers out there, so the solution is to increase demand. Society and culture need to make reading a valuable pastime. Let kids read fun books instead of classics in school. Every one of us should be involved in turning people into readers. How to sell books in a sustainable way is a critical issue.

One of the keys to self-publishing is for bookstores to open to indie authors. The recent deal between bestselling author Barbara Freethy and Ingram is encouraging.

BookLamp analyzed the contents of a book and gave recommendations to readers based on the text. (This startup has been bought out by Apple.) Authors collectively have power and should ask more questions about their data.

A discussion came up on the pressure for authors to produce more and faster in the digital age. Quantity should not be versus quality.

The author on the panel spoke about how iBooks is her number one retailer. She is totally self-published. After taking years to write her first few books, she put them all up at once. Now she’s a self-sustainable, bestselling author. She has an international Street Team that helps spread the word about her books. Her encouraging words: “You can make a living without being a household name.”

What do international readers want? Amazon is starting to look at the translator marketplace.

Coming Next: Yo! Here I am! Buy me!

See all of my Photos in the Ninc album on my Facebook Page

History of Food Sources in SE Florida

What did the early peoples of southeast Florida find to eat? Recently, Michelle Williams from the Florida Public Archaeology Network gave a talk about “Weeds and Seeds: Dining on the Riches of Southeast Florida.” Any errors in this report are due to my interpretation.

She mentioned how the early people build pyramidal shaped mounds as symbols of power. About 2000 years ago, papaya could be found here, although it probably came to these shores via bird poop. Zoo archaeology is examining animal bones to study our history. She is a paleoethnobotanist. This discipline studies plant remains to understand how people lived.

In southeast Florida, we have environmental interfaces where there’s an overlap of more than one type of ecological environment (if I understood this correctly).

The Everglades has tree islands. The trees there have a specific orientation in a teardrop shape based on water flow. Every island has evidence that people used to inhabit the land. Animals lived there, too, and provided food. Plants and trees provided wood and other resources including a type of flour. Among other things, people ate tubers, alligator meat, fish and birds.

Another environment here is the Ocean, including the ocean’s edge and mangrove swamps. There people ate conch, dolphin, seaweed, seagrapes, and cocoplums.

Another system includes Rivers and river banks, with turtles, fish, muscadine grapes and prickly pear cactus.

Lake Okeechobee is another region with snakes and fish. Catfish was popular there and now it’s bass. Elderberries and other plants grow there. The Kissimmee River feeds Lake Okeechobee, and this in turn feeds the Everglades. So Southeast Florida had hunting and gathering but no agriculture. Yet the abundance of plants and animal life supplied enough provisions for these early peoples.

Some of the current problems are Burmese pythons in the Everglades, giant African land snails and green iguanas.

Journaling for Research

Your experiences and travels provide fodder for future works and should be recorded. When I wrote travel journals years ago, little did I realize that I’d be mining those notes decades later for my Drift Lords series. I’d been to Hong Kong in 1978. Yet today, many of the sights, sounds, and sensory impressions remain the same. Thus I sought my notes for Warrior Rogue, where a scene takes place in that great city. Ditto for the other locations around the globe for my paranormal series—Los Angeles, Tivoli Gardens in Copenhagen, and Arizona. You never know when a bit of research will come in handy.

I’ve been journaling my travels ever since I can remember. And I never related this talent to my father’s writing ability until I edited his 1929 true life travel adventure titled Thumbs Up. Who knew this is where my drive to write everything down came from? Thanks, Dad. And from my mother came the attention to detail. She described every scene in a way that made me more observant.

And now, for my latest Bad Hair Day mystery, I’ve turned again to my notes. Years ago, I accepted an invitation to go backstage at a fashion show to observe the goings-on. In particular, I took note of the hairdressers and their role in prepping the models. I used all this info in a chapter I just completed for my current WIP.

How did I find this material? I write my observations, travel journals and on-location research notes in various small notebooks. I use colored tabs to divide the sections. Then I sticker them with a number and detail the contents on a separate list. Conference notes, on-scene research and experiences that may someday be relevant to my work go into these journals. So this time, I looked on my list and saw Fashion Show under number two. I pulled out this notebook and there they were: copious notes that would prove highly useful for my scene in progress.

Here’s an excerpt:

Marla had brought four stylists plus herself for eight models. She’d let her staff do the actual work while she supervised. She had supplied each of them with Luxor products specifically for this event. The fashion designer had sent pictures of each woman ahead of time so her staff could consult on the look. Yolanda wanted a sleek, elegant appearance to go with her gowns.

In another corner, the makeup artist was laying out her cosmetics. Each model would head over there for a touch-up once her hair was done.

Marla glanced at the racks of gauzy, glittering dresses, wishing she had time to examine each gown and drool over the creations. Sparkling burgundy, bright yellow, sexy black, tropical turquoise, sublime coral, chocolate and lime stood out in satins, silks and chiffons along with sequins, seed pearls and intricate beading. A separate rack held a dazzling array of wedding gowns. Who else but a wealthy socialite could afford these outfits? Each one cost thousands of dollars. With a sigh, Marla realized this was the closest she’d ever get to high society.

Yolanda bustled about, greeting each person and keeping her tote box at hand. What was in there? Needle and thread for last minute repairs? Jewels to go with her gowns?

“Thirty minutes per person, ladies,” Yolanda shouted. “That’s the goal.”

Marla winced. That wouldn’t give them much iron time. “The guests have to eat dinner yet. It’s still relatively early.”

“Our show starts before the entrée course to get people in the mood for dancing. We have to get the models through makeup and into their gowns by eight-thirty at the latest.”

“How many changes does each girl have to make?”

Yolanda pursed her lips. “The show is divided into four segments, although the bridal procession at the end requires only four models. So some girls will have three changes and some will have four. You’ll have mere seconds between scenes to fix any stray hairs, so make sure your stylists do their jobs right the first time.”

The lesson here is for you to pay attention to your surroundings and experiences. Take notes on ANYTHING that might become useful to your writing. Chronicle your trips and record the sensory impressions along with unusual observations, sights and experiences. Take notes during conference workshops. Then organize the material so you can find it later. Consider it a legacy to pass down to your kids. They might throw out your journals, or they might treasure them like I do my parents’ writings. Never miss an opportunity to record a slice of life.

Do you take random notes when you go places, even if you can foresee no immediate use for them?

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Don’t forget to visit me over at The Kill Zone, where I blog on alternate Wednesdays. This week my topic is Attending a Writers Conference, very appropriate since I’ll be at the Novelists, Inc. event in St. Pete Beach.

Radio for Writers

Speakers at the recent Mystery Writers of America Florida Chapter meeting were radio hosts Christine DiMattei and Erik Remmel, who spoke on “Radio for Writers.”

Disclaimer: This article is based on my notes. Any errors are my interpretation alone.

Christine is a broadcast news reporter/anchor at WLRN, a National Public Radio station. Erik is the Founder and President of Life Improvement Media Group, a marketing and media company. He broke ground in Podcasting and Internet Radio. In the four years since launching, LIMG has built a loyal audience with millions of unique listeners per year. http://lifeimprovementmedia.com/. Moderator was Miriam Auerbach.

Christine claims her type of broadcast radio “is not going anywhere.” Eric does Internet-based radio. He says his shows are uplifting and positive with a focus on health-related topics. He can obtain demographics and notes seniors these days are more technically proficient while children are ten years ahead in terms of tech knowledge than earlier eras. Unlike broadcast radio, you don’t have to watch your language on the Internet as FCC rules don’t apply. There’s less structure but also less cost for Internet radio. Podcasts are popular. You can put them up for free on iTunes and this will attract customer reviews. A good podcast runs for a half hour to one hour average. A livecast is streaming radio. Use keywords during Podcasts. Blog Talk is free by Google.

Christine looks for sense of place stories. “What is your story?” It’s not about your book, but about who you are as a person and as an author. What are you passionate about? How do you stand out from the crowd?

“Be brazen” to contact a show via email. Give them a bold phrase out of your book. Catch their interest up front. Email and then call to follow up. Tweet, call, email. “Persistence pays.” In the subject line of your email, put Interview Request or Mystery Writer Requesting Interview. Use formal last names in your introductory letter.

Once you have an engagement, send the interviewer your print promotional materials. You must have a Web presence. Both speakers emphasized the need for a website and for authors to be active on social media.

Tips on Appearances

Do not ask for a list of questions from your interviewer ahead of time. However, do send a bio to your host.

Figure out a way to break the ice with the interviewer when you arrive.

Do not pitch your book when answering questions.

Prepare an excerpt to read. You can ask your readers to select one. They might choose something totally different that you would as the author. An excerpt should be one or two paragraphs as you have very limited time on air. Make it a dramatic scene and be expressive.

Prepare four to eight talking points about your book.

Know your Internet URLs by heart.

Do not wear jangly jewelry to the interview.

If calling in the interview, use a landline if possible or try Skype.

In a commercial break, you can suggest topics that come to mind during your interview.

Finally, Christine reminds us that “Your interviewer is your partner” and is there to help you shine.

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So have you done live radio or blog interviews? What tips do you have to offer?

NOTE: Today is the Last Day for early registration at SleuthFest 2015. See post below.

SleuthFest 2015

Sleuthfest 2015 Early Registration Ends September 30! October 1 everything goes up $20-40. Get in Now!

• Four tracks of great programming for every of level writer from beginner to best-seller:

Need to polish your writing skills? Try Write On! With sessions on Writing for TV, Nautical Mysteries, and Spy-Fi, in addition to dialogue, plotting, and setting, even the most experienced writer can find something to round out their writers’ toolbox.

Looking for critiques on your writing, or practice on your pitch? Try Feedback Forum. Get feedback on your latest scribbles, your story structure, your pitch, and much more, from those experienced in the industry.

Want to get the scoop on what agents and editors are looking for? Try Finding the Money. What’s selling, what’s not, how to get published, indie vs. traditional, hybrid authors, and all the hot topics in the industry are covered in this track.

Need to brush up on your forensic knowledge? Try Scene of the Crime.

PLUS:

• James Patterson will share some of his writing philosophies.
• Four of the top literary agencies are eager to hear your pitch.
• James W. Hall will tell you how to write a worst-seller.
• Four of the top publishers are looking for mysteries and thrillers.
• The real Miami CSI’s are here to show you the latest and greatest.
• Dave Barry will entertain us at the Sunday brunch.
• Get critiques of your work by established authors and agents.
• And what really did happen to Amelia Earhart?

Early Registration Ends Tuesday!

Fort Wilderness Orlando

Fort Wilderness Resort at Disney World

We had visited Disney’s Fort Wilderness Resort years ago and then only for the musical dinner show. So we were pleasantly surprised to find the entrance just beyond Golden Oaks on Vista Blvd., less than 15 minutes from our condo. You park at a visitor lot after checking in at the gatehouse (we always say we’re going to eat) by the Outpost registration building. Here you have to catch a bus to take you to the rest of the place. Guests either bring their own RV to the campgrounds or rent a log cabin, fully stocked with modern amenities and kitchen facilities. These sites are interspersed among a vast property filled with tall trees dripping with Spanish moss. It’s a lovely setting, like entering a nature park.

Our first stop at the Settlement brought us to Trail’s End restaurant where we had lunch a la cart. I wasn’t thrilled with my vegetable flatbread. It seemed to consist mostly of arugula, diced tofu, and balsamic vinegar with other undefined chopped morsels. And it was too spicy for my taste. I’ve had better flatbreads at other places. The burger or a salad might be a better choice here. The cornbread side is a good item. There’s an adjacent tavern that presumably only opens at night. Other meals at Trail’s End are a buffet breakfast and buffet dinner, and reservations are recommended. The rustic atmosphere is fun and so is the overly cheerful waiter who greets you with a “Howdy.”

Located in this district also is the musical revue and a nighttime barbecue, both in separate locations. The revue is indoors while the BBQ has outdoor seating under a roof. Further along is a broad lake with a beach that has lounge chairs, fishing, boating, and playgrounds. It’s like being at a park.

We took the bus next to Meadows Trading Post, a combo souvenir shop and grocery. Beyond is a big pool with water slide and nearby kids’ playground and tennis courts. We wandered around here looking for walking trails and got plenty of exercise strolling down the shady campground lanes.

With all the activities, including carriage rides, horses, and a petting zoo, this would be a great place to stay with children. The only downside is the limited dining. You’d have to eat out at the other theme parks before returning to the campsite each night because you might not want the buffet more than once. Otherwise, this park is peaceful and rustic and a lovely place to enjoy the tranquility of nature.

We would definitely return here for the scenic views and numerous walking paths.

Epcot Food Festival, Day 2

Epcot Food Festival, Day 2

Today was overcast and hot so I couldn’t eat much in the heat. Only made it to two places again but the portions were generous and I wasn’t hungry after the hearty dish at France. We started off to the right past Puerto Rico. Next time, we’ll have to go in the other direction as Patagonia is new and a couple of things there sound good.

Puerto Rico
Braised beef with rice in vegetable sauce was very tasty and worth the wait in line.

France
Wheat pasta gratin with mushrooms and Gruyere cheese very creamy and delicious. Also rather filling.

Belgium
Our kids always like the Belgium waffle with strawberries and whipped cream.

Eddie V’s
Another night on the Magical Dining menu found us ordering Lobster and Shrimp Bisque at Eddie V’s on Restaurant Row. It had chunks of lobster, fishy/salty taste, but I am more used to New England clam chowder.

Excellent Scottish salmon with a few vegetable garnishes. We ordered a side dish of truffle mac and cheese, very tasty with crispy topping. Beef filet medallions very tender.

Dessert choices: dark chocolate mousse with whipped cream and fresh berries, Crème Brulé and Bananas Foster cake with butter pecan ice cream. Elegant, modern upbeat interior and excellent service. I would return here.

What are your favorite restaurants at Magical Dining Month? If you live elsewhere, does your community have something similar with fixed price meals?

Coming Next: Disney’s Fort Wilderness

Category: Blog