Archive for the ‘Book Business’ Category

Ten Tips for Getting Book Endorsements

Friday, October 15th, 2010
300px Michael Jackson with the Reagans Ten Tips for Getting Book Endorsements

Image via Wikipedia

More important than ivy-league academics or descriptions of your decades of experience, the endorsements you have received and testimonials you have earned convince and sell your readers that you are the top-of-the-line master. Face it, people want to base their decisions on the judgments of someone else they consider an expert. It is true whether they are voting for a candidate or buying a novel. Naturally, it is especially, critically true when they are selecting a how-to book or a text on a complex topic.

You must ASK for words of praise for your book. People who genuinely appreciate your work, colleagues (and sometimes even “competitors”) in your field, and others legitimately building reputations all may surprise you at how accommodating, even eager, they are about providing valuable testimonials, especially if you make it easy for them and show professional courtesies. Start early and follow these steps for sparkling, valuable results:

  1. Ask the best in your field. Do not hesitate to reach out to the stars and leaders who are most authoritative. Good candidates include heads of associations, celebrities involved in your issue, company presidents and founders, elders in the field, and perhaps several folks who represent the exact demographic of your audience.
  2. Ask media personalities with name recognition, which today may include leading bloggers, editors of ezines, and subject-specific Twitterati.
  3. Ask other authors. If it is nonfiction, you referred to other experts in your book—hopefully not all of them dead. Find the liveliest colleagues and send them your sample chapters well in advance of publication.
  4. Do not seek blurbs from endorsement whores, the already-famous people you see endorsing every book on the shelf. Your real audience knows better.
  5. Make it easy. High profile people are, by definition, busy people. Make providing you with an endorsement quick and easy for them. Write two or three endorsements for them. If possible, use their own words that you have pulled from their writing or presentations. Editing a pre-written endorsement is easier and faster for the celebrity or the personal assistant. You are more likely to get the quick response that says what you need it to say.
  6. Make the return effortless. If you are working in snail mail—which still commands more attention if prepared in a professional manner—include a self-addressed, stamped envelope (SASE). Always also include your email address.
  7. Give them a deadline. Forty-five days or more works well; longer and your request will be set aside and forgotten, while shorter may send your letter straight to the circular file under the desk.
  8. Follow up. You can’t just send a request and pray. Your endorser may intend to come through for you but set the request aside; it’s hardly their top priority. You may move you to the top of their pile of endorsement requests when you follow up.
  9. Post credit where due. Use the credentials your endorser provides, including their self-promotion line, within reason, of course. This is the return favor. Also, just because you revere this person, it doesn’t mean your readers will know why this endorsement is so impressive unless you include full details and prove this is legitimate.
  10. Post it now. When you get these great endorsements, get them published to your site right away, whether the book is released yet or not. Use them prominently throughout your media kit. Your credibility and sales will increase.

When you, in turn, are asked for an endorsement, reply promptly and professionally. The only thing stronger than getting a good endorsement is to appear as the expert being asked for endorsements! Be sure to provide credential copy as you want it to appear—obviously including the link to your own current title.

 Ten Tips for Getting Book Endorsements

Standing on the Internet Tracks

Monday, July 19th, 2010

Clay Shirky is the smartest guy out there right now. By “smart” I mean not the first or only guy to see a train coming, but the one who looks down the tracks we’re standing on and says, “That’s the 502, it’s packing 900 tons, and it will be here in one minute ninety seconds. How about that?”

In our case, the train is how we use the Internet. It was a Shirky lecture on TED that helped me recognize that all media is converging: print, audio, video, interactive communication all merging online. Shirky is credited with being one of the first to predict the pervasive power of a collaborative digital world, institutionalized now in Facebook, Twitter, and the rest of social media. Based at New York University, Shirky is now pointing down the tracks and leading the debate about using the Internet for communal or civic values; that is, are we going to share news about Lady Gaga’s wardrobe or are we going to provide clean water to all of Africa?

Leisure time is now a global resource, he observes. So he looks at what people are doing online and notes, “All of these are effusion of people pooling their spare time and talent, but some of them are good for the participants, and some are good for society as a whole.”

Shirky’s new book, Cognitive Surplus: Creativity and Generosity in a Connected Age Standing on the Internet Tracks (Penguin Press), looks down the tracks at the possibilities of the Internet age and the obligations that will come with it. “If we don’t celebrate civic value, we underuse the medium,” he says.

On traditional publishers adapting to the digital age: Shirky quotes Upton Sinclair. “It’s hard to make a man understand something if his livelihood depends on him not understanding it.”

On who to watch in publishing: “I’m interested in young writers and editors entering a system that is plainly structured around the vestiges of a world fast draining away.”

On the opportunities for authors today: “…while I hope [Sady Doyle of Tiger Beatdown] does get recognize and gets picked up to do a book, she doesn’t need a book to have a voice. In literature there’s never been the kind of place for women’s voices that there is now. It’s spectacular.”

I will be buying Shirky’s new book, Cognitive Surplus Standing on the Internet Tracks, which I confidently predict will be full of additional concise observations and conversation-starters. Though I am also standing on the tracks, I’m an old guy, so I hope Clay won’t mind if I buy it ink-on-paper.

Reference: “Here Comes Clay Shirky,” Publishers Weekly, by Parul Sehgal, Jun 21, 2010.

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The Rusty Nail

Monday, February 1st, 2010

rusty nails 1 The Rusty Nail

I have a new metaphor and code name for the high prices often paid for seemingly small mistakes. Last weekend, I stepped on a rusty nail. A big, very old, very rusty nail. Yes, I knew the area around the collapsed barn was dangerous; I wore my new boots and good gloves. I was watching my step as I took care of the rattling sheet metal. As I left, however, I did not see the board buried in the grass with the nails straight up. A step three inches to either side and it would not have been a blog topic—or a week of doctor visits, the tetanus booster, and industrial-strength antibiotics.

We all hit rusty nails in life and business. How do we avoid them? What is the best protection against them? And how do you respond when you hit them anyway? Your answer to this last question can be life or death and success or failure.

You can assess most situations. Though by definition emergencies arise unexpectedly, we can know the terrain and have a guide who has been around the field. Turn to business leaders in your niche; most willingly point out the nearly fatal spots they hit before you arrived on the scene. If you are producing a book in support of your business, you can work with a design firm that is aligned with your values and tracks the current technological evolution of the market.

You take reasonable precautions. Safe sex, safe hiking, safe business practices. In business, you can “nail down” good contracts and reliable vendors, though nothing but old fashioned experience will train you to know the best from the marginal. Focus on protecting your efforts with ongoing education, cultivating mentors, gathering collaborators, and building diverse networks.

But you cannot avoid every risk. You can’t always move forward as if crossing a minefield. As an business leader, the only way to be safe is to stop moving—but for an entrepreneur, that’s the most dangerous choice of all. And when you are working to address a social or environmental issue, standing still is just not an option.

With rusty nails, it is only the ones you don’t see that are dangerous. So the key question is, how will you respond when one leaps out of the grass and through your Vibram sole? When that backer backs out, that vendor flakes out, and your budget gives out, do you die, or quit, or run for a nine-to-five job? Do your panic, overreact, and make the situation worse? Or do you administer first aid, consider a measured response, and ask for help?

The publishing field is full of rusty nails for entrepreneurs. I can tell you from painful experience quite a number of them lurk in the grass. The old ones are still out there, like printing too many books in the first run or choosing a distributor that goes bankrupt right after you’ve consigned all your inventory to it. Watch out for that most common misstep: wasted money thrown at an elaborate marketing launch before you have identified your real audience.

Newer dangers surround you, but they may be harder to detect and avoid. Here the most common pitfall may be “saving money” by going with the standard self-publishing route that gets you a book that looks and performs like an amateur self-published job. Keep a weather eye out for unrealistic expectations for eBook editions and time lost on social media without a well-defined strategy to follow.

A week later, it looks like the infection in my foot won’t kill me; in an earlier generation, it may very well have been my inglorious end. To follow the metaphor into business, survival requires reasonable precautions, measured response to emergencies, and knowledge of available technologies. A little extra sleep and time to think with your feet up are both highly recommended, too.

Attributor Study Finds Pervasive Online Book Piracy

Thursday, January 14th, 2010
This news item from Publishers Weekly certainly is worrisome for everyone turning to eBooks. Hmmm.

By Jim Milliot
Publishers could be losing out on as much as $3 billion to online book piracy, a new report released today by Attributor estimates. Attributor, whose FairShare Guardian service monitors the Web for illegally posted content, tracked 913 books in 14 subjects in the final quarter of 2009 and estimated that more than 9 million copies of books were illegally downloaded from the 25 sites it tracked. Although Attributor needs to make some projections to arrive at total numbers, the hard figures the survey uncovered are disturbing to any publisher worried about the possible impact of piracy of e-books.

Attributor Study Finds Pervasive Online Book Piracy

The Power of Publishing for the Social Entrepreneur

Friday, October 23rd, 2009

Are you combining the passion of a social mission with your innovative but practical business solutions? If so, then you face the ongoing challenge of describing and explaining your vision and strategies. The most versatile and virile/viral medium to tell your story may be in a book.

Don’t scoff and tune out yet! The definition of “book” has radically changed in just the last few years, and its dizzying evolution presents opportunities for the nimble business leader. We may be talking about a printed book with all its traditional impact, or a short-run, print-on-demand book available on a just-in-time basis, or perhaps an ebook—more concise and far more portable—but just as professional. We may also consider a multimedia “book” combining your hard facts and your impassioned descriptions. Here’s the tip: Your audience defines the best format of your book—you apply market analysis as you would with any product.

Consider these five solutions your book will provide:

Define yourself as the leader. Lay out your vision and plan with confidence and clarity. Guaranteed, that message in print sets you at the vanguard. It gives others a flag to rally around. Your perspective becomes the leading edge. You are the one invited to be the keynote speaker, because you literally wrote the book on the subject.

Recognize the pioneers and innovators of the field. Honor them in your book. Suddenly you stand shoulder-to-shoulder with them, humbly perhaps, but indivisibly. By placing your work in context to those you admire, you connect yourself philosophically or literally to them. Do you think someone you dream of working with will be more receptive to your proposal if you have respectfully referenced them in your book?

Make your case. You have a unique perspective on the social cause your business is addressing. In a book, you have the stage—front, center, and solo. Here’s your chance to crush the misconceptions, spotlight the toughest challenges as you see them, and redefine the game. Then you cannot not be misquoted and misrepresented. Refer them to page 32 of your book to set them straight.

Gather the powerful network you need. Now, as an established thought leader associated with the icons of the field and empowered by a compelling strategy, you can nurture collaborations that were if-only pipedreams when you started. New links in your network enter the conversation holding the high concepts from your book already in mind. With the unambiguous authority of your book as a velvet hammer, you can forge alliances that will rock your world. That’s what you want most, isn’t it?

Sell it. The book is part of the enterprise. You have a product or a process that offers a sustainable solution the world needs. We also need your story, your visionary version of how this could go. Give journalists covering the social problem and your industry colleagues real news in your book. They will tell the world about it for you. Feed inspiration and insights to everyone working in related social enterprises. They’ll pay you for it, gladly. The book earns its own place in your successful business.

Some Looks at Vooks

Friday, October 2nd, 2009

There are serious contenders today staking out turf in the multimedia book battlefield. We are elbowing closer to the killer app that seamlessly merges text, sound, and video. All we need now is digital scratch and sniff.

An intriguing challenger comes from entrepreneur Bradley J. Inman of Vook. You may have seen the recent announcement of their partnership with Simon & Schuster.

In their own words, “a vook blends a well-written book, high-quality video and the power of the Internet into a single, complete story. You can read your book, watch videos that enhance the story and connect with authors and your friends through social media all on one screen, without switching between platforms.”

The premiering vooks are available via a web-based application or  a mobile application through the Apple iTunes store that syncs to an Apple mobile device. (Hmm, Apple is in here again, what a surprise.)

I have some White Cloud Press titles I would sure like to see in this format, combining great text with collaborative video and music.

As once blog commenter said, it may be that “Video + book = EBook Trailer.” Or it may be that this platform will be ideal for certain genre’s, especially how-to books, because you will want to take the how-to with you wherever you are doing what you are learning to do.

To give you the spectrum of opinions on where this is heading, here is a collection of reviews and articles about the vook.

Early skepticism on iReader Review

A good impression of the founder, by Greg Sterling

Publishers Weekly provided a good overview

Entertainment Weekly’s review at EW.com

A Baltimore Sun review “… moving in the right direction.”

Eli James on Novelr, a blog for Internet fiction.

Testing Vook, by Tameka Kee on paidContent.org

The LA Times warns us (Hollywood knows!) of a major issue for publishers going this route. “It takes a lot of people — and money — to make a good film.”

Curling Up With Hybrid Books, Videos Included, from the NYT by Motoko Rich on Sept. 30, 2009, tries to come to grips with the evolution of ebooks and the reading experience.

The New York Times also gave us a profile last April. it closes with a question from skeptics and Mr. Inman’s reply:

And they are sure to ask: Would we have classics like The Great Gatsby if F. Scott Fitzgerald was distracted by the need to give Gatsby a Twitter account? (Blogger’s note: there are currently six F . Scott Fitzgeralds on Twitter)

“I don’t think we are compromising the written word,” says Mr. Inman at Vook. “People will to continue to read, just in new ways. Books are finally coming online but they are very one-dimensional. I think we can experiment and do this better.”

The company is on Twitter under their banner vooktv

Vook’s very crisp introduction: http://www.vook.com/

Databases for Professional Writers

Friday, September 18th, 2009

I suppose it is still possible to use 3 x 5 cards and file boxes. But databases built with versatile software such as FileMaker Pro are essential management tools for a professional writer today. Here are eighteen databases you might create for yourself to be more efficient, organized, and productive.

  1. Build a powerful address book of your business contacts: editors, proofreaders, illustrators, indexers, graphic designers, book production service, tech support, drug dealers—whatever you need
  2. Set up a prioritized list of publishers, with submission guidelines.
  3. Keep a portfolio of your magazine articles, guest blogs, book contracts, and foreign rights editions sold.
  4. Tie your portfolio database to bookkeeping/accounting functions, automatically recording your royalty and subsidiary rights payments. (This also follows the “If you build it, they will come” principle.)
  5. Track your office expenses realistically. Run the reports for tax deductions.
  6. Gather library and online references that become the bibliography of a project.
  7. Organize your interview notes with contact info, sorted by topic, date, and project.
  8. Keep a timesheet so you know what an insane amount of time you’ve really spent on that novel.
  9. Keep a secure list of all your login IDs and passwords.
  10. You don’t have to bookmark every interesting website. Capture their URLs, categorize them for quick searches. Create a button on the page that opens the web address in your browser.
  11. Catalog your own library—books and ebooks. It does not take a Dewey Decimal System; just get the basic title page info in there so you know what you’ve got and where to find it. Add a reading wish list.
  12. Working on a project with a co-author or contributors? Publish the projects’ resources privately to the web so your collaborators can access the same references and notes.
  13. Far better than a clunky spreadsheet, build marketing email lists, with bulk email blast capabilities and fields for leads, clients, sales outlets, or bookstore address and phone lists. Automate invoices and letters.
  14. Schedule and record notes about your appearances and readings.
  15. Compile a record of reviews and publicity.
  16. Of course, you need to keep a list of your favorite cafés with wifi in all the towns you visit. Maybe you can load it on your iPhone.
  17. Organize notes and backstory bios of your fictional characters and locations.
  18. Run your brainstorms into a database: make it a place to save the half-baked story ideas, with fields that may link them together over time in ways you would not have otherwise seen.

The New Media Landscape for Authors

Saturday, August 8th, 2009

The Internet is the first medium in history that has native support for groups and conversation at the same time.  —Clay Shirky

Authors need to think long and hard about this evolutionary shift in the publishing landscape.

Shirky explains the fundamental limitations of twentieth-century communication technologies: what was good at conversation was no good at creating groups (telephones). And what was good at reaching groups (“whether broadcasting tower or printing press”) was no good at conversation.

Likewise, in traditional publishing a book flowed laboriously from the author through a publishing house, distributors, wholesalers, and retailers to readers. The conversation about it flowed through reviewers in newspapers and magazines, perhaps with buzz on radio and television. Publicity therefore focused on attracting the attention of “The Media,” considered an ally and adversary.

That is so last century, my friends.

Not only is media becoming increasingly interactive, one vehicle is becoming the carrier for all other media. All other media, including books, and what books are becoming.

How does this evolution affect authors today? Consider this scenario, an author’s dream:

Suppose I am a reasonably computer-savvy reader who gets excited about your work. If I am within cell-phone service range and I have a Kindle, I can download your book instantly. If I want to ask you a question, I can friend you on Facebook or comment on your blog. If you say something I find exciting, I can share it with a host of interested people on Twitter, who may in turn retweet links to your work exponentially. If I want to establish a professional connection to you, we can share a group on LinkedIn. If you have videos of your presentations, I’ll find them on YouTube. And if I want to gather an entire worldwide distributed community to explore your ideas as presented in your book, I can launch a Ning site in an afternoon that manages members, forums, photos, videos, events, groups, and blogs.

I am just one of your readers, but now I am also your publicist and collaborator.

As an author with a message to share, wouldn’t you do everything in your power to attract, empower, and inspire such a reader?

The caveat is that social media gives you unprecedented power to convene your supporters—but does not allow you to control your supporters. The good news is the single professional book reviewer may no longer make or break your success. The bad news is that thousands of amateur reviewers may weigh in with their uninformed opinions instead. The question for authors is not how to avoid the new landscape, but how to thrive in it.

Clay Shirky: How social media can make history

Either/And: The Digital Threat

Friday, July 17th, 2009

Pity the traditional publishers (I include myself here). They follow a craft and compete in an industry steeped in tradition based on technology going back before the Protestant Reformation. Yet, in just a few flying years, ink on paper is “quaint” and the forms, scope, and reach of their products are all new. The entire structure of publishers’ markets has shifted. And no one knows what publishing will look like tomorrow.

wittenburg press Either/And: The Digital Threat

The printing technology that drove the Protestant Reformation. (© G. Kliewer)

Publishers used to just focus on releasing good books. Now they have to be dot-com wizards and social media gurus, too. Now they must not only guide the content into quality form, but also get that content into multiple formats, not knowing which medium will be viable or popular.

“Publishers are really quite busy just managing the traditional business they’ve had,” says John Ingram, chairman, Ingram Content Group (PW 6/29/2009), “and not too many of them have got a bunch of extra capital to come up with their own proprietary digital solutions. All of them need to be looking at digital as a threat and an opportunity.”

Customers want our titles in digital form, or do they? What assumptions? Is it really true you are more likely to buy the paperback if you got the digital version for free? Will you want  to only take a Kindle in your backpack for the summer walkabout? Will that how-to book work for you as an e-book?

Ingram continues, “We live in a world that we call an either/and world, not either/or. Customers want physical goods in some circumstances, digital in others. It’s a daunting task to figure out how to provide that, when your core business is trying to figure out how to shepherd the creation of content.”

The only comfort is that content is still king. The audience is larger than ever—and perhaps more appreciative than ever of great work as it sifts through all the noise. Get the story right, and it matters little if you print it or sing it.

“There is no friend as loyal as a book,” said Ernest Hemingway. When most of our friends are on Facebook, maybe that can still be true?

Caught in the Rye

Friday, July 3rd, 2009

Last week, a federal judge granted a preliminary injunction barring the publication in the United States of what J.D. Salinger’s attorneys called an unauthorized sequel to The Catcher in the Rye. Writer and publisher Fredrik Colting sought to publish a U.S. edition of his book, 60 Years Later: Coming Through the Rye.  In it, Colting has Salinger bring back “Mr. C,” now 76 years old, to kill him off and be clear of the fictional character at last.

Judge Deborah Batts ruled that Colting’s work would harm the market for “sequels and other derivative works” from Salinger. According to Publishers Weekly, Salinger has not published or licensed any new work since 1965.

Fredrik Colting contends his book is a “stand-alone” story that is a critique of Salinger’s work. The judge, however, classified Colting’s work as a sequel. The author obviously misjudged the iconic status of Salinger and his work in the American culture. “I’m from Sweden,” Colting told PW. “People don’t go around suing each other here. Maybe I was a little naïve.” Ya think?

Copyright Catches. Aaron Silverman, president of book distributor SCB, was also named in the suit. Silverman frequently scouts for promising titles from European and Asian publishers to distribute U.S. editions. (SCB distributed my White Cloud Press titles for many years.) Apparently, Silverman didn’t see this train coming.

Beyond the impacts it may have on traditional print distribution channels, this case raises troubling questions for the borderless online publishing universe.  If Holden Caulfield is protected by copyright as a character, independent of the fiction in which he appears, where does copyright begin and end? If you publish an unauthorized eBook sequel to an English-language story in Chinese, what legal risk are you taking? It sounds like intellectual property law will be a good field to enter for a long time.

Recluse Redress. There is another irresistible attraction to the Catcher in the Rye case. If the appeal of the case goes to trial, the famously reclusive Salinger may be compelled to be deposed. “If Salinger refuses to comply and answer the defense’s questions, PW notes, “the court can impose sanctions and even dismiss the case. Thus, filing suit against Colting may have put Salinger’s desire for privacy on a collision course with his desire to protect Holden Caulfield.”

I’d rather have Salinger retain his mythic recluse status. But I also worry about the precedents created by this case, particularly as it gives a judge power to declare a work parody or sequel, which is outside the reasonable realm of the courtroom.

“Salinger’s Last Stand: Is Fredrik Colting’s book 60 Years Later fair use or just a ‘goddam phony’?” By Andrew Richard Albanese — Publishers Weekly, 6/22/2009

“Salinger Wins as Judge Blocks Publication of 60 Years Later” By Andrew Albanese — Publishers Weekly, 7/1/2009