Authors

Go Read This | Tom Weldon: ‘Some say publishing is in trouble. They are completely wrong’ | Books | The Observer

In the piece below, Weldon is on the money and authors should keep that in mind:

He thinks publishing a new book is a bit like running a startup company, or – in an analogy closer to this horse-racing enthusiast – a flutter at the track, where “relentless optimism” is blended with controlled risk-taking.

via Tom Weldon: ‘Some say publishing is in trouble. They are completely wrong’ | Books | The Observer.

Go Read This | Medium and Being Your Own Platform – Marco.org

Wise words from Marco, worth holding in mind all the time, especially in the sections below and when he admonishes us to have “a domain name you control and are able to easily take your content and traffic with you to another tool or host at any time*”:

Treat places like Medium the way you’d treat writing for someone else’s magazine, for free. It serves the same purpose: your writing gets to appear in a semi-upscale setting and you might temporarily get more readers than you would elsewhere, but you’re giving up ownership and a lot of control to get that.

Whether it’s worthwhile to you should depend on whether you want to establish yourself as a writer, whether you want to get paid for it in some form, and whether you can get an audience elsewhere on your own. Plenty of people can answer “no” to all three, especially if they do something else extremely time-consuming for a living and want an occasional place to write, but don’t have the time or inclination to try building regular audiences or become known for their writing. People who sometimes want to write, but never want to become even part-time writers.

via Medium and Being Your Own Platform – Marco.org.

 

* I use WordPress.com to run my site here, but I own the domain name and several others on which I can run the content which I export and back-up regularly.

On Galbraith, JK Rowling & Debut Novellists

Cuckoo's CallingI can’t say I agree with this argument

But there’s another downside, which is the negative impact on thousands of writers the public has never heard of or, more importantly, had the opportunity to read. In that sense, it could even be argued that Rowling’s well-intended hoax has backfired, turning into yet another story about fame in the modern world.

via JK Rowling’s book ruse is a cautionary tale for unknown writers | Joan Smith | Comment is free | guardian.co.uk.

For one thing, readers always have the opportunity to read debut authors, though they may never consider them and they may choose not to read them, given that readers’ time is limited and the chances of getting a bad book are high, it’s understandable that they often pick authors they already know and like.

Secondly the publishing industry has always been hit driven, there’s some argument that it is becoming even more so with the bandwagoning effect of the internet, but that’s a question of scale rather than kind. New writers always struggle to get exposure in this environment. But even the hits start small until something or someone pushes them over an edge, that can be advertising spend, celebrity endorsement, top line publicity, word of mouth or just dumb luck, but even JK Rowling started at the bottom with Harry Potter, the initial print run for The Philosopher’s Stone was around 1,00 copies!

Finally no writer is entitled to success, just as no publisher or bookseller is entitled to it. We all have to work to reach readers and entice them to read book (hopefully our books). Sometimes that means publishing a few books before gaining a readership, sometimes it may mean a writer never gains that readership despite being talented. There’s no foolproof way to guarantee success, you just have to keep plugging away at it and finding good partners to work with and hoping you can do everything right so that if success comes, you’re ready.

A Writer’s Ire Misdirected & An Odd Counterpoint

Transworld Ireland gets quite a battering from Aiden O’Reilly’s 21 December open letter. He lambasted publisher Eoin McHugh* with a wonderfully amusing paragraph:

I decided not to bother sending my manuscript to you. I cannot have any trust that it would get serious attention. I would not fit in among the authors on your list. Even if you decided to publish me, I would not feel comfortable with your publishing house.

Personally I think the target poorly chosen and the tone a little too much for my liking, but I do understand the frustration of writers in Aiden’s position which regardless of my thoughts on the subject he puts well:

I put this question to you: What is your ethos? What is your company’s ethos?

When I go to my local restaurant, the owner tells me he wishes to bring authentic and excellent Indonesian cuisine to Dublin. A building company run by a friend will strive to use Irish materials in an energy-efficient manner. None of them will say: “I need to maximise income for my shareholders in a very difficult market.”

What is your ethos Sir? Do you have any sense of responsibility that you are shaping a new generation of writers?

I see also that you were previously a book buyer at Easons, a company known for playing a role in the literary life of the nation. Was there some sense when Transworld Ireland was set up in 2007, that it should promote new writing that reflects what’s happening in this country? Is there any sense of responsibility for seeking out good writing wherever it may be found?

via The Stoneybatter Files – News.

Oddly enough, I stumbled across another blog today, from a  writer too (one Stephen Leather), with a much different attitude to the world and for his good fortune a better outcome:

Last month I sold 44,334 books on Kindle UK. That’s a lot of books. I don’t know of any Indie author who even comes close to that in the UK. I know that I’m not a true Indie author in that I am also published by one of the best publishing houses around – Hodder and Stoughton. But I have published five books on my own and they are true Indie books.

I know of only one Indie author who sells more than me in the US and that’s paranormal romance writer Amanda Hocking – and she sells more than twice as many as me.

I’m putting my December sales figures onto my blog so that people can see for themselves where my sales are coming from.

In December it was my vampire book Once Bitten that sold best, accounting for 22,607 sales. Interestingly it is my New York serial killer story, The Basement, that is currently selling best – and heading the Kindle UK bestseller list. But in December it was lagging behind Once Bitten with 17,321 sales. For most of December Once Bitten and The Basement were Number 1 and Number 2 in the Kindle UK bestseller list respectively. As of today, it’s The Basement that’s Number 1.

via I Sold 44,334 Kindle Books in December

It is a strange phenomenon in this age of digital books, that authors CAN now serve very large markets with a single account and do darn well out of it.

I’m not saying that Aiden’s solution is to jump on the independent publishing bandwagon, perhaps that’s not his bag and not every independent author will sell such huge numbers, but I am saying that the things he writes about are the frustrations consequential to his choice. Had he chosen to publish independently his frustrations would be different ones, but real nonetheless.

Writing is a frustrating career choice, wether ploughing the traditional route or trying the newer independent forms, but it IS a choice. Commercial publishers, as crass as you might think their list to be, are not the cause of your problems, nor a suitable target for your ire.

Eoin

*It’d be wise for me to point out that I know Eoin, have met with him on several occasions in both a business and more recreational situations both since he joined Transworld and when he was at Easons and have a lot of respect for him.

Go Read This | There’s only one Seth Godin, but there are other authors who might emulate him – The Shatzkin Files

A rather good piece by Mike Shatzkin on Seth’s move.

Publishers should have remembered the axiom that you should be careful what you wish for. This was, perhaps, the beginning of the unbundling of the publisher’s suite of services to the author. It used to be that the publication of a book was the platform and the publishers’ publicity and marketing efforts worked to capitalize on it. This was all part and parcel of the package: paying an advance; editing and shaping the book; putting it into a distributable (printed and bound) form; getting it known; and, of course, getting it into a store where a customer could buy it.

via There’s only one Seth Godin, but there are other authors who might emulate him – The Shatzkin Files.

Quick Link | Seth Godin Drives Another Nail Into the Book

Mathew Ingram adds some interesting nuance to the Seth Godin reaction:

Not every author or artist has that ability, and not every book is going to find an established audience that way. There are still going to be mass-market blockbusters in publishing, just as there are in movies and music, where the marketing machine goes into high gear to reach as large an audience as possible. But for established authors and artists who specialize in a particular niche, connecting directly with readers or fans can be a far better approach than relying on the traditional infrastructure of the content-distribution industry. At the end of the day, that is a good thing for fans of both books and music.

via Seth Godin Drives Another Nail Into the Book.

Go Read This | Seth’s Blog: Moving on

I’ve been interested to read Seth’s reasoning since I read his comments first on GalleyCat. I think he puts the radical case for there being no need for publishers pretty well and he highlights to me the danger that exists for publishers with their top rated talent.

On the other hand this piece calls out for a response, one that says the value of collecting, curating and promoting not just the ideas of one man, or one group but all the ideas about or around a niche that matter and building on that a community and services that community values.

The thing is–now I know who my readers are. Adding layers or faux scarcity doesn’t help me or you. As the medium changes, publishers are on the defensive…. I honestly can’t think of a single traditional book publisher who has led the development of a successful marketplace/marketing innovation in the last decade. The question asked by the corporate suits always seems to be, “how is this change in the marketplace going to hurt our core business?” To be succinct: I’m not sure that I serve my audience (you) by worrying about how a new approach is going to help or hurt Barnes & Noble.

My audience does things like buy five or ten copies at a time and distribute them to friends and co-workers. They (you) forward blog posts and PDFs. They join online discussion forums. None of these things are supported by the core of the current corporate publishing model.

Since February, I’ve shared my thoughts about the future of publishing in both public forums and in private brainstorming sessions with various friends in top jobs in the publishing industry. Other than one or two insightful mavericks, most of them looked at me like I was nuts for being an optimist. One CEO worked as hard as she could to restrain herself, but failed and almost threw me out of her office by the end. I’d be lying if I said I wasn’t heartbroken at the fear I saw.

via Seth’s Blog: Moving on.