So there's been a tsunami of controversy about the new Google Search the Book program, which allows the contents of books to be searched for key words much like the Internet is searched for key words.
How does it work? Try it for yourself. Visit http://print.google.com/ and do a search for "Konrath." You'll be able to find Whiskey Sour, completely searchable.
The Author's Guild says this violates copyright, and that allowing access to content without a royalty is the same as stealing.
I feel differently.
People read me for free at the library, sell my advance reading copies on Ebay, buy my used books on Amazon, and I don't make a cent from these transactions.
I'm also all for them.
Steal me. Download me. Search inside me. Google my complete text. Infringe me.
Just read me.
I remember when Metallica shut down Napster. Three major things resulted from that.
1. Many other peer to peer sharing networks showed up.
2. Sony began selling copy-protected CDs, which load spyware onto your computer.
3. People hated Metallica, and they lost sales rather than received compensation for their lost royalties.
On the opposite end of the spectrum is the band Phish, which encourages fans to trade music freely. Phish fans are happy, and enough money flows Phish's way to make them rich.
Here's the thing--I want to be read. The more people that read me, the better off I am. Some of those freebies will translate into sales. Some won't. But they all add to name recognition, to brand awareness, and to more people knowing who I am and what I write.
I wouldn't want anyone to print up editions of my books without compensating me. But I don't mind being Googleable, even if they make some advertising revenue from my books.
Saturday, November 19, 2005
Thursday, November 17, 2005
Eggs in Baskets and Hatched Chickens
(This post isn't directed at anyone in particular, and you know who you are.)
I've met a lot of authors. Some pre-published. Some seasoned pros. Some somewhere in between.
Most writers have some sort of publicity plan. They're going to set up local signings, or take out some ads, or start a blog, or have a contest, or get some big blurbs, or attend a lot of conferences, or send out postcards, or visit a lot of libraries, or print up 10,000 bookmarks, or pay to promote their website, or teach classes, or try to manipulate their Amazon numbers, or give away lots of free copies or their book, or have a large internet presence, or make vidlits, or all of the above (which is what I did, in one way or another.)
And most writers soon find out that their best laid plans, when executed, don't meet their expectations.
It's hard to sell books. Which is why 4 out of 5 published don't earn out their advance.
A lot of writers I know, when they find out their plans didn't pan out, become discouraged, bitter, depressed, and resentful.
This brings up an important point---one that many authors, both new and seasoned, fail to grasp: If you build it, they won't always come.
Having marketing ideas or strategies is good--enthusiasm and a willingness to experiment with publicity and marketing will help you in the long run. But too many authors think that an ad, or a contest, or a vidlit, or a blog, will automatically sell books. It won't.
There's no single path to success. Some authors do the bare minimum, and sell like crazy. Some try like crazy and still have poor sell-through.
I'm confidant in saying I self-promote a lot. I'm a minorly successful author. I believe I have very good name recognition in comparison to my sales (meaning I'm known by more people than simply those who buy me.) I believe this name recognition is based on all that I have done to promote myself, and that many sales have resulted from my efforts--sales that wouldn't have happened otherwise. My site and blog get a lot of hits. I get a lot of fan mail. My readership is growing. These are all good signs.
But still, as much as I'd like to take credit for the way my career is going, the fact is that luck plays a huge part.
Much bigger authors than me have done much less on the self-promotion front, but sell in much greater numbers. I can say, "Do this, do that, keep trying" but the fact is, none of my efforts have led me to the bestseller lists. James Patterson can say, "Do nothing but write a good book" and his path did lead him to the bestseller list.
For all of our efforts, there's still an X Factor that determines success. Some unknown, unteachable, unreachable thing determines who makes 7 million a book, and who loses their publishing deal due to poor sell-through.
You can increase your odds that Factor X happens by working hard, trying new things, and never giving up, but there are no guarantees.
So why even bother? If it's all up to fate, why spend 80% of your time trying to sell your books?
For me, it comes down to peace of mind. If one of my efforts falls flat, at least I can tell myself that I tried. If my career falls flat, it won't be because I didn't make an effort.
So I recommend that you try. You try everything. You try often. You keep at it, even when nothing seems to work.
But, luckily, sometimes things do work. I believe the failures outnumber the successes in marketing, but when the successes do happen, they make it all worthwhile.
Plus there's the unknown, cumulative effect of your efforts. You might have only gotten three people at your signing, but several hundred saw the sign promoting it. Factor X can come into play in small ways--you meet a TV producer at a convention, someone discovers your blog and wants to do a newspaper story on you, your website contest leads to a foreign rights sale. Your efforts yield more than book sales. They lead to word-of-mouth, brand awareness, and name recognition.
So next time you have a brilliant marketing idea, don't put all your eggs in one basket and count those chickens before they've hatched. The best stock portfolios diversify. Sometimes the sure-thing falls flat, and it's the penny stock that makes you rich.
If you know that a lot of your efforts will fail, you'll be a lot happier at the end of the day.
I've met a lot of authors. Some pre-published. Some seasoned pros. Some somewhere in between.
Most writers have some sort of publicity plan. They're going to set up local signings, or take out some ads, or start a blog, or have a contest, or get some big blurbs, or attend a lot of conferences, or send out postcards, or visit a lot of libraries, or print up 10,000 bookmarks, or pay to promote their website, or teach classes, or try to manipulate their Amazon numbers, or give away lots of free copies or their book, or have a large internet presence, or make vidlits, or all of the above (which is what I did, in one way or another.)
And most writers soon find out that their best laid plans, when executed, don't meet their expectations.
It's hard to sell books. Which is why 4 out of 5 published don't earn out their advance.
A lot of writers I know, when they find out their plans didn't pan out, become discouraged, bitter, depressed, and resentful.
This brings up an important point---one that many authors, both new and seasoned, fail to grasp: If you build it, they won't always come.
Having marketing ideas or strategies is good--enthusiasm and a willingness to experiment with publicity and marketing will help you in the long run. But too many authors think that an ad, or a contest, or a vidlit, or a blog, will automatically sell books. It won't.
There's no single path to success. Some authors do the bare minimum, and sell like crazy. Some try like crazy and still have poor sell-through.
I'm confidant in saying I self-promote a lot. I'm a minorly successful author. I believe I have very good name recognition in comparison to my sales (meaning I'm known by more people than simply those who buy me.) I believe this name recognition is based on all that I have done to promote myself, and that many sales have resulted from my efforts--sales that wouldn't have happened otherwise. My site and blog get a lot of hits. I get a lot of fan mail. My readership is growing. These are all good signs.
But still, as much as I'd like to take credit for the way my career is going, the fact is that luck plays a huge part.
Much bigger authors than me have done much less on the self-promotion front, but sell in much greater numbers. I can say, "Do this, do that, keep trying" but the fact is, none of my efforts have led me to the bestseller lists. James Patterson can say, "Do nothing but write a good book" and his path did lead him to the bestseller list.
For all of our efforts, there's still an X Factor that determines success. Some unknown, unteachable, unreachable thing determines who makes 7 million a book, and who loses their publishing deal due to poor sell-through.
You can increase your odds that Factor X happens by working hard, trying new things, and never giving up, but there are no guarantees.
So why even bother? If it's all up to fate, why spend 80% of your time trying to sell your books?
For me, it comes down to peace of mind. If one of my efforts falls flat, at least I can tell myself that I tried. If my career falls flat, it won't be because I didn't make an effort.
So I recommend that you try. You try everything. You try often. You keep at it, even when nothing seems to work.
But, luckily, sometimes things do work. I believe the failures outnumber the successes in marketing, but when the successes do happen, they make it all worthwhile.
Plus there's the unknown, cumulative effect of your efforts. You might have only gotten three people at your signing, but several hundred saw the sign promoting it. Factor X can come into play in small ways--you meet a TV producer at a convention, someone discovers your blog and wants to do a newspaper story on you, your website contest leads to a foreign rights sale. Your efforts yield more than book sales. They lead to word-of-mouth, brand awareness, and name recognition.
So next time you have a brilliant marketing idea, don't put all your eggs in one basket and count those chickens before they've hatched. The best stock portfolios diversify. Sometimes the sure-thing falls flat, and it's the penny stock that makes you rich.
If you know that a lot of your efforts will fail, you'll be a lot happier at the end of the day.
Tuesday, November 15, 2005
Amazonymous
Hey there, Author, checking your Amazon sales rank 15 times a day---why don't you try to be proactive rather than reactive and use some of Amazon's features to your advantage? Why be Amazonymous when you can actively influence your own sales?
www.amazon.com/connect allows authors to set up their own bio page. It's free. And after the first of the year, it will also allow you to contact readers who have bought your book through Amazon.
Mine is here.
www.amazon.com/shorts allows people to download a short story of yours for .49 cents. I'll have a new Jack Daniels story up there in a few weeks. It's great for fans who are anxiously awaiting your next book, and it is also a cheap way for a potential buyer to give your writing a try without plunking down the big bucks. Plus, you make money--every download earns you 20 cents---which is pretty good considering a paperback sale only nets an author 55 cents.
www.amazon.com/listmania allows you to create a list of books that are similar to yours, and which comes up when people do searches on those authors. This is a list of recommended reads that appears in the sidebar when popular authors are searched. One of mine is here.
www.amazon.com reviews are more than just a way to give your author peers a pick me up---you thoughtful comments about their books can lead their readers to you. So release your inner Harriet Klausner and go review some books. This is especially important if you believe in karma.
Don't know what Amazon rankings mean? Neither does anyone else. For a quick and dirty explanation, check out www.fonerbooks.com/surfing.htm. But my own experience and experiments don't necessarily agree.
I do know that Amazon is supplied by the distributor Ingram, and a call to 615-213-6803 can let you know how many books Ingram has shipped for this year and last.
Want to make money from Amazon? You can join Amazon Affiliates at www.amazon.com/associates and get a few cents every time someone orders your book through your site. If you want to link to Amazon, I also suggest you link to other bookstores as well, to give your surfers a choice of where to buy. I personally do not link to Amazon, becuase I've found that indie bookstores dislike it.
So what are you waiting for? Get into the Amazone.
www.amazon.com/connect allows authors to set up their own bio page. It's free. And after the first of the year, it will also allow you to contact readers who have bought your book through Amazon.
Mine is here.
www.amazon.com/shorts allows people to download a short story of yours for .49 cents. I'll have a new Jack Daniels story up there in a few weeks. It's great for fans who are anxiously awaiting your next book, and it is also a cheap way for a potential buyer to give your writing a try without plunking down the big bucks. Plus, you make money--every download earns you 20 cents---which is pretty good considering a paperback sale only nets an author 55 cents.
www.amazon.com/listmania allows you to create a list of books that are similar to yours, and which comes up when people do searches on those authors. This is a list of recommended reads that appears in the sidebar when popular authors are searched. One of mine is here.
www.amazon.com reviews are more than just a way to give your author peers a pick me up---you thoughtful comments about their books can lead their readers to you. So release your inner Harriet Klausner and go review some books. This is especially important if you believe in karma.
Don't know what Amazon rankings mean? Neither does anyone else. For a quick and dirty explanation, check out www.fonerbooks.com/surfing.htm. But my own experience and experiments don't necessarily agree.
I do know that Amazon is supplied by the distributor Ingram, and a call to 615-213-6803 can let you know how many books Ingram has shipped for this year and last.
Want to make money from Amazon? You can join Amazon Affiliates at www.amazon.com/associates and get a few cents every time someone orders your book through your site. If you want to link to Amazon, I also suggest you link to other bookstores as well, to give your surfers a choice of where to buy. I personally do not link to Amazon, becuase I've found that indie bookstores dislike it.
So what are you waiting for? Get into the Amazone.
Thursday, November 10, 2005
Everyone is the hero in their own movie
I've gotten a lot of private emails lately about the way some folks in the mystery community treat other folks. By a lot, I mean about twenty in the past few days.
Some of the people writing are pros. Some have new book deals. Some are unpublished.
All have the same theme---what's with all the negativity?
Being a professional writer means you are a public figure. Like all public figures, people will openly form opinions about you and your work. Some will like you. Some won't.
The President is often the most loved and the most hated person in the country. That's just the way it goes. I'm sure he doesn't take it personally. Neither should writers.
I make it a point not to take cheap shots. I rarely defend myself. If I do defend myself, it is to make a point--it's not to change anyone's mind. There are few certainties in life, but one of them is: "You'll probably never change anyone's mind."
Everyone is entitled to their opinion, and all opinions are valid. As the title of this entry says, everyone is the hero in the movie of their life. Everyone feels justified in what they say and do, and everyone is offended when the world doesn't agree with them.
The problem with judging others is that it reeks of insecurity. Throughout your life, there will be many people you don't like. Many will fail to meet up to your standards. Many will screw up. Many will attack you. But how helpful do you think you are being when you call them on it? A wise man told me over breakfast, "If someone cuts you off in traffic, and you honk and give the guy the finger, how much do you really believe your actions will change that person's behavior?"
The answer is: not at all. Insulting someone doesn't ever help the issue. Even if you feel your insult is justified.
The Internet is one of the most amazing inventions of mankind. It allows for instant communication. Unfortunately, there is also a lack of accountability. People can say things that they wouldn't have the guts to say to a person's face. They can post anonymously, or under false names. They can lie. They can troll.
So here are some Internet rules that I try to follow:
Some of the people writing are pros. Some have new book deals. Some are unpublished.
All have the same theme---what's with all the negativity?
Being a professional writer means you are a public figure. Like all public figures, people will openly form opinions about you and your work. Some will like you. Some won't.
The President is often the most loved and the most hated person in the country. That's just the way it goes. I'm sure he doesn't take it personally. Neither should writers.
I make it a point not to take cheap shots. I rarely defend myself. If I do defend myself, it is to make a point--it's not to change anyone's mind. There are few certainties in life, but one of them is: "You'll probably never change anyone's mind."
Everyone is entitled to their opinion, and all opinions are valid. As the title of this entry says, everyone is the hero in the movie of their life. Everyone feels justified in what they say and do, and everyone is offended when the world doesn't agree with them.
The problem with judging others is that it reeks of insecurity. Throughout your life, there will be many people you don't like. Many will fail to meet up to your standards. Many will screw up. Many will attack you. But how helpful do you think you are being when you call them on it? A wise man told me over breakfast, "If someone cuts you off in traffic, and you honk and give the guy the finger, how much do you really believe your actions will change that person's behavior?"
The answer is: not at all. Insulting someone doesn't ever help the issue. Even if you feel your insult is justified.
The Internet is one of the most amazing inventions of mankind. It allows for instant communication. Unfortunately, there is also a lack of accountability. People can say things that they wouldn't have the guts to say to a person's face. They can post anonymously, or under false names. They can lie. They can troll.
So here are some Internet rules that I try to follow:
- Try not to hurt others.
- If you feel you must hurt others, be a man and own up to it.
- Try not to reply to those who hurt you, because you aren't going to change their mind.
- Be the person your kids will be proud of, whether you have kids or not.
I'm not bringing all of this up for any specific reason, and this blog entry isn't aimed at any specific individual.
And to the anonymous guy insulting me on another blog--I have a pretty good idea of who you are, and I just called Ingram and checked the sales of your last book. Ouch. No wonder you're so angry.
(My son wanted me to mention that)
First Lines
First lines are the most important lines in the story. Here are some of mine from stories and books I've sold:
There were four black and whites already at the 7-Eleven when I arrived. -- WHISKEY SOUR
"It would be so easy to kill you while you sleep." -- BLOODY MARY
The sound begins. Again. -- RUSTY NAIL
No security cameras this time, but he still has to be careful. --DIRTY MARTINI
"She sure bled a lot." -- ON THE ROCKS
"His skull is shattered and his spinal column looks like a dutch pretzel." -- WITH A TWIST
Mitch couldn't answer me with the barrel of my gun in his mouth, so I pulled it out. -- STREET MUSIC
"I want you to kill the man that my husband hired to kill the man that I hired to kill my husband." -- TAKEN TO THE CLEANERS
The woman twisting the tube into my penis has cold hands. -- FORGIVENESS
"That's gotta be where the money is." -- THE SHED
Hudson closed his eyes and swallowed hard, trying to stop sweating. -- THE AGREEMENT
There's an art to getting your ass kicked. -- EPITAPH
"I want you to kill my wife." -- SUFFER
"Let me get this straight--you want me to murder you tonight?" -- REDUX
"Eat it." -- FINICKY EATER
The mark knelt next to a garbage can, two hands unsuccessfully trying to plug nine holes in his face, neck, and upper body. -- LIGHT DRIZZLE
"No thanks." -- THE BAG
Rust from the crowbar flaked off, coating my palm with orange dust. -- BASKET CASE
Voice Module 195567 Record Mode: Is this thing working? -- SYMBIOS
----------
Some are stronger than others. Why? What makes a first line good or bad?
Feel free to post some of your favorites.
There were four black and whites already at the 7-Eleven when I arrived. -- WHISKEY SOUR
"It would be so easy to kill you while you sleep." -- BLOODY MARY
The sound begins. Again. -- RUSTY NAIL
No security cameras this time, but he still has to be careful. --DIRTY MARTINI
"She sure bled a lot." -- ON THE ROCKS
"His skull is shattered and his spinal column looks like a dutch pretzel." -- WITH A TWIST
Mitch couldn't answer me with the barrel of my gun in his mouth, so I pulled it out. -- STREET MUSIC
"I want you to kill the man that my husband hired to kill the man that I hired to kill my husband." -- TAKEN TO THE CLEANERS
The woman twisting the tube into my penis has cold hands. -- FORGIVENESS
"That's gotta be where the money is." -- THE SHED
Hudson closed his eyes and swallowed hard, trying to stop sweating. -- THE AGREEMENT
There's an art to getting your ass kicked. -- EPITAPH
"I want you to kill my wife." -- SUFFER
"Let me get this straight--you want me to murder you tonight?" -- REDUX
"Eat it." -- FINICKY EATER
The mark knelt next to a garbage can, two hands unsuccessfully trying to plug nine holes in his face, neck, and upper body. -- LIGHT DRIZZLE
"No thanks." -- THE BAG
Rust from the crowbar flaked off, coating my palm with orange dust. -- BASKET CASE
Voice Module 195567 Record Mode: Is this thing working? -- SYMBIOS
----------
Some are stronger than others. Why? What makes a first line good or bad?
Feel free to post some of your favorites.
Tuesday, November 08, 2005
Cleaning House
I've got a brief stretch of free time before holiday booksigning madness, and have several goals for this period. The first was to clean my computer--yesterday I made back-ups of important data then reinstalled Windows. It's amazing how fast everything runs now.
Other things on the agenda:
To Newbie Writers: Don't start your stories with setting. I'm judging a magazine contest, and 9 out of 10 stories begin with the shining sun or the wet rain. I don't read much farther. Start with dialog and action, and let the setting come out through the story.
To Maria: I love you.
Other things on the agenda:
- Catch up on my email.
- Finally do the library mailing.
- Judge all the contests on my website, and update it with tons more content.
Then I'll be Officially Caught Up, just in time to write my next Jack book.
To Bloggers: If you link to my blog, but I don't link to yours, let me know and I'll correct the situation.To Newbie Writers: Don't start your stories with setting. I'm judging a magazine contest, and 9 out of 10 stories begin with the shining sun or the wet rain. I don't read much farther. Start with dialog and action, and let the setting come out through the story.
To Maria: I love you.
Sunday, November 06, 2005
Conference Culture
I'm in California, at the sixth annual Men of Mystery Convention. Like all good conferences, it was both productive and fun. Besides getting to meet readers, I hung out with fellow scribes Barry Eisler, James Rollins, Sean Doolittle, Dylan Schaffer, Jeff Shelby, Lee Goldberg, Tod Goldberg, and many others.
MoM is a 60 table banquet lunch with over 500 guests. Each author gets his own table (except for Shelby, who had to share with another author) and 90 seconds to stand up and address the entire room.
Some writers, sadly, are much better writers than talkers. Those I listed above don't have that problem (buy their books), and the conference quickly became a game of 'who can get the biggest laughs.' And there were some big ones. My favorite was Lee, waxing philosophically about his recent proctological exam, and possibly turing that into a mystery series. I offered to co-write, and proposed four titles:
MURDER IN AN UNHAPPY PLACE
IT ONLY HURTS IN THE END
HEY, WHERE'S MY WRISTWATCH?
HE STOLE MY CARS, THEN WRECKED 'EM
Laughs translated into sales. I sold out of paperbacks, and moved quite a few hardcovers. Those who spoke poorly, sold poorly.
Message from Joe: Learn to Speak in Public. Now.
There's a lot of buzz circulating about Dean Koontz's speech, and how he offended many attendees. Personally, I didn't find the remarks offensive---Koontz was purposely trying to be humorously insulting, in order to get a certain Japanese CEO to drop his name from a movie title. His goal was to dishonor the guy. The problem was in the set-up and the execution. Koontz just wasn't very funny. George Carlin is a lot more offensive, but gets away with it because he's funny.
Had Koontz spent more time showing he was the underdog, and established that he wasn't racist and did all of this to right an injustice (rather than because he simply wanted his way, which is how he came off), I think the story would have gone over a little better.
Or perhaps Mr. Koontz should simply retire this particular anecdote.
Of course, when you sell 300 million books, chances are you don't care too much about the opinions of your peers. In fact, I've only sold 100k books and I don't care too much about the opinions of my peers either. But, while I'm often inappropriate in public, I'm never hateful. Many thought Dean was.
Which brings up an interesting point. If you're going to talk in public, be aware that you might not get the reaction you expect. Whether that dictates what you say or don't say is up to you. Just be prepared to face public opinion when you're finished speaking.
Conferences are essential for writers, and at conferences you'll be asked to speak. Unlike signings, where you'll meet a few dozen readers, you can meet hundreds at a con. You don't want to turn readers against you.
Next weekend, I'll be with Dave Ellis, Blake Crouch, Melanie Lynne Hauser, Libby Fischer Hellmann, Gregg Hurwitz (who I just saw at MoM) and others, at Murder and Mayhem in Muskego.
Coming up next year is Love is Murder in Chicago February 3-4, Sleuthfest in Florida March 3-6, and the first annual Thrillerfest, June 29-July 2 in Arizona.
Thrillerfest is put on by the International Thriller Writers, and this con is quickly getting some very big names to attend. Get your tickets now, while they're still available.
MoM is a 60 table banquet lunch with over 500 guests. Each author gets his own table (except for Shelby, who had to share with another author) and 90 seconds to stand up and address the entire room.
Some writers, sadly, are much better writers than talkers. Those I listed above don't have that problem (buy their books), and the conference quickly became a game of 'who can get the biggest laughs.' And there were some big ones. My favorite was Lee, waxing philosophically about his recent proctological exam, and possibly turing that into a mystery series. I offered to co-write, and proposed four titles:
MURDER IN AN UNHAPPY PLACE
IT ONLY HURTS IN THE END
HEY, WHERE'S MY WRISTWATCH?
HE STOLE MY CARS, THEN WRECKED 'EM
Laughs translated into sales. I sold out of paperbacks, and moved quite a few hardcovers. Those who spoke poorly, sold poorly.
Message from Joe: Learn to Speak in Public. Now.
There's a lot of buzz circulating about Dean Koontz's speech, and how he offended many attendees. Personally, I didn't find the remarks offensive---Koontz was purposely trying to be humorously insulting, in order to get a certain Japanese CEO to drop his name from a movie title. His goal was to dishonor the guy. The problem was in the set-up and the execution. Koontz just wasn't very funny. George Carlin is a lot more offensive, but gets away with it because he's funny.
Had Koontz spent more time showing he was the underdog, and established that he wasn't racist and did all of this to right an injustice (rather than because he simply wanted his way, which is how he came off), I think the story would have gone over a little better.
Or perhaps Mr. Koontz should simply retire this particular anecdote.
Of course, when you sell 300 million books, chances are you don't care too much about the opinions of your peers. In fact, I've only sold 100k books and I don't care too much about the opinions of my peers either. But, while I'm often inappropriate in public, I'm never hateful. Many thought Dean was.
Which brings up an interesting point. If you're going to talk in public, be aware that you might not get the reaction you expect. Whether that dictates what you say or don't say is up to you. Just be prepared to face public opinion when you're finished speaking.
Conferences are essential for writers, and at conferences you'll be asked to speak. Unlike signings, where you'll meet a few dozen readers, you can meet hundreds at a con. You don't want to turn readers against you.
Next weekend, I'll be with Dave Ellis, Blake Crouch, Melanie Lynne Hauser, Libby Fischer Hellmann, Gregg Hurwitz (who I just saw at MoM) and others, at Murder and Mayhem in Muskego.
Coming up next year is Love is Murder in Chicago February 3-4, Sleuthfest in Florida March 3-6, and the first annual Thrillerfest, June 29-July 2 in Arizona.
Thrillerfest is put on by the International Thriller Writers, and this con is quickly getting some very big names to attend. Get your tickets now, while they're still available.
Tuesday, November 01, 2005
What I've Learned So Far
This is the age of instant communication, and because of that the author/reader relationship extends beyond the pages of a book. Authors spend a lot of time and money on websites, making it easy for fans to get in touch. Email, message boards, authors chats, blogs, and pod casts all make contacting your favorite writer practically instantaneous.
I believe that being approachable and accessible is necessary in this business, and I spend a good deal of time making sure I'm able to be reached, and that I reply to those who reach me.
My website took a great deal of time to set up. I used to update the content weekly, but now it's once a month, and mostly limited to appearances and news.
My blog is where I have a chance to air my thoughts about publishing, and I spend a lot of time here, posting and replying.
I run several contests, and the latest one just ended. It was a short story contest, and I had over a hundred entries, which thrills me.
Email is still the preferred method of contact, and I get between 30 and 50 emails a week from fans.
Snail mail is almost non-existent. I've gotten around ten fan letters in the past two years, compared to thousands of emails.
All told, I spend about ten hours a week connecting with fans. I feel it is time well spent.
But is there anything in my career which I don't consider worthwhile?
It is coming up on my three year anniversary---three years ago, this November, I landed my first book deal. I went into this business green, and I know quite a lot now. Like all new authors, I had many misconceptions that were quickly dispelled.
Here are some things I've learned:
Write a good book. While this is a no brainier, so many new writers blame everyone but themselves for their lack of publication credits. If you want to succeed, you have to learn the craft.
Readers are more important than peers. When I first got published, it was incredibly important for me to be accepted by the mystery community. Now, not so much. I treasure the friends I've made, and will continue to make more, but I'm no longer worried about seeking approval.
Kiss ass. Start with the folks on your team--your agent and publisher. Then pucker up for booksellers, and fans. Be thankful, be gracious, and be vocal in both. If you're fun to work with, you're ahead of the game. If you spread warmth, it will be returned to you. Spreading venom has the same effect.
Give back. If you've had any degree of success, send the elevator back down. Talk to new writers. Offer advice. Teach. Give blurbs. Post publishing tips on your website.
Have a plan. Don't expect anyone to help you, guide you, or take care of you. Learn as much as you can, set goals, and figure out how to reach those goals.
Stay grounded. It's very easy to get caught up in the hype. Get real. You aren't curing cancer. You're an entertainer--don't think that you're more than that.
Don't volunteer. It's very easy to get used. I'm all for helping out within the writing and publishing community, but I've gotten burned a few times. Know what is in it for you, and be clear about what you're getting in return.
Don't compare yourself to other authors. Someone is always going to have more money, larger print runs, more fans, and better deals. Competition is healthy, but it should be with yourself, not with others.
Don't listen to reviews. You will anyway, but don't take it personally. Not everyone will like your books. Not everyone will like you. It isn't important what people are saying, as long as they're saying something.
Don't go to awards ceremonies. Losing isn't a big deal. What hurts is having fifty people come up to you and say, "Sorry you lost."
Be approachable. Both in person, and in cyberspace. If someone reaches out to you, reach back.
Learn to turn it off. I'm still struggling with this. Being a writer defines me as a person, and I can't seem to ever get away from it. I've had one vacation in three years, and during that vacation I did booksignings. Know when to relax. And when you learn how, teach me how.
Cherish family and friends. After you become a writer, there won't be many people who knew you 'before.' The ones who did are special. Never let them forget how special they are.
Don't worry. No matter how much you do, how hard you try, luck still plays a huge part in success. As Barry Eisler just told me, the most you can do is to try your best. Then, no matter how luck factors in, you'll at least have no regrets.
So far, I don't have any regrets. I wish the same to all of you.
I believe that being approachable and accessible is necessary in this business, and I spend a good deal of time making sure I'm able to be reached, and that I reply to those who reach me.
My website took a great deal of time to set up. I used to update the content weekly, but now it's once a month, and mostly limited to appearances and news.
My blog is where I have a chance to air my thoughts about publishing, and I spend a lot of time here, posting and replying.
I run several contests, and the latest one just ended. It was a short story contest, and I had over a hundred entries, which thrills me.
Email is still the preferred method of contact, and I get between 30 and 50 emails a week from fans.
Snail mail is almost non-existent. I've gotten around ten fan letters in the past two years, compared to thousands of emails.
All told, I spend about ten hours a week connecting with fans. I feel it is time well spent.
But is there anything in my career which I don't consider worthwhile?
It is coming up on my three year anniversary---three years ago, this November, I landed my first book deal. I went into this business green, and I know quite a lot now. Like all new authors, I had many misconceptions that were quickly dispelled.
Here are some things I've learned:
Write a good book. While this is a no brainier, so many new writers blame everyone but themselves for their lack of publication credits. If you want to succeed, you have to learn the craft.
Readers are more important than peers. When I first got published, it was incredibly important for me to be accepted by the mystery community. Now, not so much. I treasure the friends I've made, and will continue to make more, but I'm no longer worried about seeking approval.
Kiss ass. Start with the folks on your team--your agent and publisher. Then pucker up for booksellers, and fans. Be thankful, be gracious, and be vocal in both. If you're fun to work with, you're ahead of the game. If you spread warmth, it will be returned to you. Spreading venom has the same effect.
Give back. If you've had any degree of success, send the elevator back down. Talk to new writers. Offer advice. Teach. Give blurbs. Post publishing tips on your website.
Have a plan. Don't expect anyone to help you, guide you, or take care of you. Learn as much as you can, set goals, and figure out how to reach those goals.
Stay grounded. It's very easy to get caught up in the hype. Get real. You aren't curing cancer. You're an entertainer--don't think that you're more than that.
Don't volunteer. It's very easy to get used. I'm all for helping out within the writing and publishing community, but I've gotten burned a few times. Know what is in it for you, and be clear about what you're getting in return.
Don't compare yourself to other authors. Someone is always going to have more money, larger print runs, more fans, and better deals. Competition is healthy, but it should be with yourself, not with others.
Don't listen to reviews. You will anyway, but don't take it personally. Not everyone will like your books. Not everyone will like you. It isn't important what people are saying, as long as they're saying something.
Don't go to awards ceremonies. Losing isn't a big deal. What hurts is having fifty people come up to you and say, "Sorry you lost."
Be approachable. Both in person, and in cyberspace. If someone reaches out to you, reach back.
Learn to turn it off. I'm still struggling with this. Being a writer defines me as a person, and I can't seem to ever get away from it. I've had one vacation in three years, and during that vacation I did booksignings. Know when to relax. And when you learn how, teach me how.
Cherish family and friends. After you become a writer, there won't be many people who knew you 'before.' The ones who did are special. Never let them forget how special they are.
Don't worry. No matter how much you do, how hard you try, luck still plays a huge part in success. As Barry Eisler just told me, the most you can do is to try your best. Then, no matter how luck factors in, you'll at least have no regrets.
So far, I don't have any regrets. I wish the same to all of you.
Tuesday, October 25, 2005
Writing Scams
In my previous post, I talked about how important validation is for writers. There are many reasons why.
Writing a book, even a bad book, is a big accomplishment. You spend months, or years, creating an entire universe. It's hard work, lonely, egotistical, empowering, magical, mysterious, fulfilling, and depressing. When you finally write THE END, few things in life compare with that feeling.
Naturally, you want others to recognize your efforts. Perhaps even pay you for them.
Most first books aren't very good. Because personal opinion plays a part, it is harder to judge the quality of good writing. Paint an apple that looks like an apple, and you will be considered a decent artist. Play a song on the piano without messing up, and you will be considered a good musician. Finishing a book does not mean you will be considered a good author.
Most first authors don't know this.
Rather than treat publishing like a business (as they should) some authors treat themselves like artists, and then look for a way to legitimize their efforts. Even neophyte writers know this means:
Writing a book, even a bad book, is a big accomplishment. You spend months, or years, creating an entire universe. It's hard work, lonely, egotistical, empowering, magical, mysterious, fulfilling, and depressing. When you finally write THE END, few things in life compare with that feeling.
Naturally, you want others to recognize your efforts. Perhaps even pay you for them.
Most first books aren't very good. Because personal opinion plays a part, it is harder to judge the quality of good writing. Paint an apple that looks like an apple, and you will be considered a decent artist. Play a song on the piano without messing up, and you will be considered a good musician. Finishing a book does not mean you will be considered a good author.
Most first authors don't know this.
Rather than treat publishing like a business (as they should) some authors treat themselves like artists, and then look for a way to legitimize their efforts. Even neophyte writers know this means:
- Getting an agent
- Getting published
With most artistic endeavors, there is a learning curve. Writing has one as well, but it is harder to see.
I've written at length about how screwed up the publishing business is. But the business is a result of years of evolution and attrition. As problematic as it may be, it has become a way for writers to prove their worthiness as artists. It proves that there are no easy routes to getting an agent, or getting a book deal.
Authors that break in must meet some minimum requirements. They must tell competent, salable stories, based on the opinions of professionals who work within the industry.
It is hard to impress these professionals.
As such, since publishing became big-business, another type of big-business arose--validating the writer through alternative means.
A book is an intensely personal thing. Rejection is hard. Many new writers cannot get validated through the NY publishing scene, so they seek alternative methods.
Here are a few, and why they are bad.
FEE CHARGING AGENTS - An agent is someone who earns 15% of the rights sales she makes on behalf of a writer. Agents need no license, no degree, no training. Anyone can call herself an agent.
Getting a good agent is hard to do, because they have high standards. Even though they work for the writer, they have all of the control at the beginning of the relationship.
Some authors don't think that they have any choice in the matter--they're stuck with whatever agent accepts them. Read the writing tips on my website for more about good and bad agents.
When a cow is slaughtered, there is a lot of blood and extra bits and pieces that are of no use to the slaughterhouse. But this waste has spawned cottage industries that buy the offal and use it in pet food, fertilizer, and many other things.
This is what happened in publishing.
A bad agent can't stay in business--no sales means no money. But even bad agents were swamped by needy writers, begging to be represented. So the bad agents came up with a plan. They would charge the writers a small fee.
A struggling writer craving validation will happily pay $50 a month (supposedly for costs related to running an agency like Xeroxing, phone calls, messenger service) to have an agent.
Do the numbers. If a fee-charging agent has 100 clients, she's making $5000 a month for doing nothing.
How hard is she going to work to sell your book? Not very hard at all.
The bottom line: never pay an agent money. Visit "Preditors and Editors" "Writer Beware" and "Association of Author's Representatives" to find good agents and avoid bad ones.
WRITING CONTESTS - It's hard to publish short stories. There are only so many markets, and they tend to be picky.
Along came the contest. Pay $5, or $10, or $50 for a chance to win $500.
Do the numbers. If a 1000 authos pay $10 each, the person running the contest makes $10,000. They pay $500 to the winner, and pocket the rest.
The legitimate contests don't charge fees. And there's no guarantee winning the contest will do anything for your career. I could put in a query letter "I won the Randolf Award, the Zimmer Prize, and placed second in the Zamboni Fellowship" and the editor won't care.
The story is what matters, not the number of awards the writer has won.
If you have a good story, submit it to a paying market, or a contest that doesn't charge any fees.
PAID ANTHOLOGIES - Here's another quick scam. You submit a poem, and it gets accepted into an upcoming poetry collection. You get excited, tell all your friends and family, and then get a letter in the mail saying that you can purchase the anthology at $40.
Naturally you buy a copy, and so does Mom, and so does Aunt Grace and your best friend Phil. When you get the anthology, you see it is 700 pages long, and your wonderful poem is crammed on a page with seven others.
Do the numbers. If there are 3000 poems in the book, and each writer in the anthology bought at least one copy, the publisher made $120,000.
Poetry.com was infamous for this scam. They'd also invite writers to awards ceremonies, at staggering costs to the gullible writer, to receive a worthless award along with 1000 other 'winners.'
VANITY PRESS - In simple terms, a vanity press is a publisher whom the writer pays to get into print. Vanity presses often have contracts that hurt the writer (low royalties, excessive rights,) make false promises about distribution and sales, and deliver an inferior, high-priced product that you have to pay to warehouse and that you can't get into any bookstores.
A traditional press makes money through book sales. A vanity press makes money off the writer.
PRINT ON DEMAND - POD is a type of press that eliminates the warehouse fees by creating single copies of books to order, using a special photocopy/binding machine.
Some call it a technology, which it is. Some call it vanity, which is can be.
If there is a contract between the press and the author which requires the author to pay money and also discusses rights and royalties, it is a vanity press.
POD books are even more expensive that offset printed vanity books. They aren't returnable, and can't be distributed. They don't look, feel, or even smell the same as regular books. Like vanity presses, they aren't edited edited for content, and they publish anyone with enough money. There is no 'weeding out' process like there is in tradional publishing, and so many bad vanity books have been produced that there's a stigma associated with them--and the stigma is well-deserved.
Some well known POD vanity presses include Xlibris, PublishAmerica, iUniverse, and AuthorHouse. Avoid them.
Many writers want to self-publish. If that's your goal, hire a printer and learn about the business. Paying someone else, either POD or Vanity, to publish your work is a very bad idea.
Real publishers don't solicit authors. They don't send spam offering their services. They don't put ads in magazines. They don't mail you brochures. And they NEVER ask for money.
BOOK DOCTORS - After getting many rejections, a writer might begin to think her book isn't as good as she assumes. She'll want to make it better, but is unsure of how to do so.
Enter the freelance editor. Someone who charges a fee between $2 and $10 a page to 'fix' the book.
Some are legitimate, and can be helpful. Some are scammers who charge a few grand and make the book even worse. Like agents, there is no license, experience, or eduaction required to call yourself an editor.
My advice is to learn how to edit yourself. You should be able to do that anyway. But if you need a second opinion, and are willing to pay for it, get references. Know beforehand what you are paying for.
Some unscrupulous agents have worked with book doctors, selling them the addresses of the writers they have rejected. The rejected writer will receive a brochure in the mail, touting the book doctor's expertise.
Some bad agents will also refer writers directly to a book doctor, for a referral fee. Beware anyone asking you for money.
I have published author friends who successfully use freelance editors. I think your time and money are better spent learning the craft on your own. Take a class. Read books about editing. Join a writer's group.
If you really need a freelance editor, ask around. Getrecomendations from your peers. Don't pick one because they have a splashy ad in Writer's Digest.
SELF-PUBLISHING - I think self publishing is an option open to writers, but it involves a lot of time and effort, plus a lot of money. I'll defend self-publishing, but I do not recommend it--even though I know authors who have done it successfully.
Self-publishing is not vanity or POD publishing. A self-published author retains all rights, and doesn't share royalties with their printer. A self-published author creates their own imprint, gets their own ISBN, copyright, and Library of Congress ID, finds their own distributer, allows for returns, and knows up front the cost and effort going into their business.
I believe it is easier to find a traditional publisher than it is to successfully self-publish, and would recommend writing another book before trying to self-publish a book that has been rejected by traditional publishers.
THE BOTTOM LINE - Don't pay anyone any money for anything. If you do, do so knowing the risks involved. Education is your ally. Research is your friend. Ask questions. Seek answers. Trust your gut. If it seems too good to be true, it probably is.
The best things in life are the things that are earned, not handed to you. The harder you work for it, the sweeter success is when it arrives. Keep at it. Keep writing. Keep submitting. Never say die.
NY publishing is flawed. It's fallible. It wants to reject you. But it isn't an impossible nut to crack. Visit and sign up for www.publisherslunch.com and www.pwweekly.com. Each week there are new deals made with first time writers. It happens all the time.
The true secret to getting published is simple: Write a book that a complete stranger will pay $25 for.
Monday, October 24, 2005
At What Point Success?
I've been thinking about Maslow's Heirarchy of Needs, and the way human beings treat success, both their own and the success of others.
Are there criteria? Are those criteria universal?
Are there criteria? Are those criteria universal?
When does an author become 'successful?'
- Selling a book?
- Earning a living?
- Selling movie rights?
- Hitting the bestseller list?
- Having 1000 books in print? 10,000? 100,000? 1,000,000? 10,000,000?
- Getting on television?
- Winning awards?
- Getting ten emails a week from fans? 100? 1000?
- Having 100 website hits a day? 100,000?
- Being ranked in the Top 50 on Amazon?
- Getting paid for speaking?
- Receiving fan mail?
- Being known within your genre?
- Being known by the general public?
- Earning out your advance?
- Getting a six figure deal? A seven figure deal?
- Having your backlist still in print?
- Being sold in Walmart?
- Getting on Oprah?
- Teaching and helping others?
- Trying your best?
- Being happy?
I know bestselling authors and self-published authors and many in between. I know writers with a lot of talent who haven't gotten published, and those who have gotten published without a lot of talent. I know that hard work plays a part, but so does luck, and luck favors the prepared.
But most of all, I know that if I ever want to be successful, my definition of success has to change.
The day I no longer need any kind of validation is the day I'll truly be successful.
Does anyone want to validate me on that?
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