Three Things I Wish I’d Known Before Self-Publishing

by Debbie Burke

@burke_writer

We don’t know what we don’t know.

After self-publishing eight books in six years, I can definitively say, no matter how much knowledge I think I have, there’s always waaaaay more to learn.

Here are three things I wish I’d known when I started.

1. Exclusive or wide? The decision whether to publish exclusive or wide is a complicated choice without clear answers. But it’s also one of the most important decisions you’ll make. Give it serious consideration.

First, let’s translate terms in the language of self-pub speak.

Exclusive means you publish and sell your books solely through Amazon’s Kindle Direct Publishing (KDP).

Going wide means, in addition to Amazon, you sell your books through other distributors (Barnes & Noble, Apple, Kobo, etc.).

The self-pub learning curve is steep and it’s a good idea to become familiar with the basic process first before you consider branching out. There’s a reference list at the end of this post to help. 

Because Amazon is the major marketplace, I recommend starting with them for your first self-publication. But be careful you don’t inadvertently make choices that might cause problems if you later decide to go wide. The devil is in the details which I’ll expand on in a minute.

Here are some KDP pros:

  • The majority of self-published books are sold through Amazon, so it makes economic sense to go with the biggest marketplace. Many authors build entire careers creating, publishing, and selling their books only through Amazon. TKZ’s own Jim Bell has done well by staying exclusive.
  • KDP provides an excellent system that walks the author through the steps. One doesn’t need to be a tech-savvy programmer to produce an attractive professional-looking book using their Kindle Create program.
  • Through KDP, you can publish ebooks, print, hardcover, audio, and additional options. Paperbacks are good quality and author copies are at a reasonable cost.
  • Their market reach is second to none.
  • They offer exclusive promotions via Kindle Select to encourage the author to stay within their universe.

However, that universe has drawbacks. Here are a few cons:

  • They change rules without notice, often in ways that seem capricious and punitive.
  • An author’s account may be suspended or terminated for violating their lengthy terms and conditions. Sometimes algorithms make the decision and bots don’t offer explanations. Recourse is difficult.  If an author can’t sell books, they are out of business.
  • KDP doesn’t allow you to offer a book for free (as a reader magnet) without a complicated workaround that requires frequent updating.
  • Most independent booksellers will not deal with Amazon.

KDP’s “Expanded Distribution” is one of the devilish details mentioned above. The terms imply the ability to distribute to markets outside of Amazon.

This is their explanation:

“Booksellers and libraries purchase paperbacks from large distributors. If you enroll your paperback in Expanded Distribution, we’ll make your book available to distributors so booksellers and libraries can find your book and order it…Booksellers and libraries around the world may purchase books from these distributors. It’s free to enroll your paperback in Expanded Distribution, and it allows your book to be made broadly available outside of Amazon.”

Sound great, right? But notice the wording (the emphasis is mine). They “make your book available to distributors so booksellers and libraries can find your book and order it.” They “may” purchase your books.

That doesn’t mean they will. 

The reality is most bookstores are unlikely to purchase books from the source that threatens their ability to stay in business. Can you blame them for not buying bullets from an enemy that wants to shoot them?

Additionally, bookstore and library computer systems are set up to order books through distributors like Ingram, not Amazon. Even if patrons request your book, a library will likely say no because it’s more time and trouble than it’s worth.

So, if you click  the “expanded distribution” button, you actually lose some ability to sell through other distributors.

Fortunately, this is easy to reverse: if you clicked the expanded distribution button (as I did originally), simply unclick it.

After several years of exclusivity with Amazon, I decided to go wide. Most sales still come from Amazon but I prefer to have eggs in several different baskets.

KDP is a good, easy-to-learn system to get your started in self-publishing but you may decide not to spend the rest of your career there. The lesson is to leave your options open. Terms and conditions change over time and what sounds fine today may not work for you in the future.

2. Amazon isn’t the only game in town. There are many self-publishing alternatives: Ingram Spark, Draft2Digital (D2D), BookBaby, Lulu, Smashwords (now merged with D2D), Barnes & Noble, Kobo, etc. All those choices can overwhelm a new self-publisher.

Fasten your seatbelts. This next section is complicated.

Since I’d rather write than learn about different self-pubbing systems, initially I took the path of least resistance and stayed exclusive with Amazon. I used their Kindle Create program to design and format.

But…you can use Create files only on KDP. If you want to go wide, you can’t take those files to different distributors. To reach other markets, you have to create different file versions of your books.

For several years, the need to learn additional programs intimidated me and prevented me from going wide.

Then I read Terry’s excellent 2020 post about Draft2Digital.

At last, here was a publishing system easy enough for the tech-challenged writer! With Terry’s coaching, I went wide using D2D.

With Draft2Digital, you upload a Word file to their system. Then use their excellent templates to design and format a professional-looking ebook, paperback, or both. There is no cost to use their formatting service. Free really is free.

D2D creates formatted book files that can then be uploaded to B&N, Apple, Kobo, etc.

Since I’m too lazy to learn the quirks of each market’s system, I let D2D do the distribution. I select markets where I want to sell and D2D takes care of the rest, uploading the files to each market’s particular specifications. They also keep track of and pay royalties. For that service, they take a percentage of sales. Because they provide great value with free formatting, I don’t mind paying 10%. For me, it’s worth it.

You can also upload files directly to the various markets and save the fee.

However, I don’t recommend using D2D distribute to Amazon. In fact, Amazon erects so many roadblocks, D2D provides a checklist to overcome them:

“In order to better serve our authors, Draft2Digital first requires that you take steps to gain access to Amazon as a digital store option. As soon as each step is verified by our team, Amazon will be activated as an option for your account.”

I should have listened to those warning bells before I tried an experiment with the seventh book in my series, Until Proven Guilty.

At that time, with six self-published books under my belt, I felt pretty comfortable and confident about the process.

You know what they say about pride going before the fall.

Instead of the usual process of uploading the book to Amazon first, then uploading to D2D, I chose to have D2D distribute UPG to Amazon, along with the other markets. That way, I figured, only one sales link was needed. Easy peasy, right?

Wrong.

Using D2D as the distributor caused problems with Amazon that I’d never encountered before.

Normally a new book in a series is automatically linked to the other books in the series. But this time, the new book wouldn’t link. That glitch required repeated contacts with KDP.

An even worse obstacle cropped up. For several weeks after publication, customers couldn’t find the book. Even when they typedUntil Proven Guilty by Debbie Burke” directly into the Amazon search box, a message said that title couldn’t be located. Many more contacts with KDP finally resolved the problem.

But that delay was especially bad for a new book launch.

I’m guessing the reason for these problems is because KDP prefers the author chooses Amazon as their primary distributor. Using D2D as the distributor disrupts their system and makes the bots cranky.

Lesson learned. Now, I upload to Amazon first. Then I upload to D2D for other markets. That means two sales link buttons, one for Amazon and one for everyone else, but that’s a small inconvenience. The problems have not recurred since.

I’d be remiss if I didn’t say a few words about Ingram. They are biggest distributor and the one used by most booksellers and libraries. Ingram Spark (IS) is their branch for self-published books. Through them, your physical books can be ordered by any store, including retailers like Walmart and Target.

IS books are print on demand (POD) and the quality is excellent although their prices are a little higher than KDP’s POD.

At some point, you may want to upload your books to IS because that gives your books the widest distribution.

But… their system is somewhat difficult to navigate, according to discussions among various writing groups I belong to. For now Ingram is a task I’ll put off for the future.

Since I haven’t used other self-pub options (Book Baby, Lulu, etc.), I didn’t address them. The above only describes my personal experience with KDP and D2D. YMMV.

3. ISBNs. When I first published, ISBNs seemed like a trivial detail, but I later discovered they are important for distribution and sales of print books.

Although ebooks generally sell the most, a significant number of readers prefer a physical book. Paperbacks account for a quarter to a third of my sales. 

KDP produces a good quality print-on-demand book at a reasonable price, so I used them.

But…I ran into problems with ISBNs.

What are ISBNs? This is the American Library Association explanation:

“The International Standard Book Number (ISBN) is a 13-digit number that uniquely identifies books and book-like products published internationally.”

Why does the ISBN matter? That is essentially your book’s unique fingerprint and how it’s located in the Books in Print database. If you want bookstores and libraries to be able to order physical copies of your books, you need ISBNs.

Side note: ISBNs aren’t necessary for ebooks.

How do you get ISBNs?

The official supplier of ISBNs is Bowker. They are pricy: $125 for one, $295 for ten, $575 for 100. You must use a different ISBN for each format of the same book. In other words, if you publish paperback, hardback, large print, and audiobook editions, each requires a separate ISBN. That expense adds up quickly, which is daunting for a new self-publisher.

The other option: use the free ISBNs provided by KDP. However…that leads to another devilish detail.

Trying to save money, I used KDP’s free ISBNs. Later I learned free comes with a price.

The price is:

Those numbers can only be used within the Amazon system. The free ISBN from KDP can only be used on KDP for distribution to Amazon and its distributors. It cannot be used with another publisher or self-publishing service.”

When I decided to go wide, those free ISBNs from KDP didn’t work for other markets like Barnes & Noble, Apple, Kobo.

Even if your books are published using a business name (e.g. XYZ Thriller Press), the ISBN still identifies it as originating from KDP. Bookstores can recognize those free numbers and often will not order from them.

Case in point: in this year’s Christmas card from my college roommate, she mentioned she’d tried to buy my latest book Deep Fake Double Down in paperback from B&N. The ebook was available from B&N but not a print book. She prefers to purchase from B&N  but, being a good friend, she went ahead and bought the paperback from Amazon.

My ISBN mistake really hit home with the opening of a new B&N store in my town. The manager offered to feature local authors but their computer system can’t order my books using KDP’s ISBN. He graciously agreed to take books on consignment but that is only a temporary arrangement for the grand opening. In the future, I will need to publish updated paperback versions with my own ISBNs so B&N can order them.

D2D can also provide a free ISBN. This is how they handle it:

Draft2Digital will automatically assign an ISBN to any book published through our system free of charge.

The ISBN recording agency will denote Draft2Digital as the “vendor of record” on their website for any ISBN D2D purchases, but that label does not give us any rights to your work nor will it show publicly. All of our digital stores will continue to show the publisher name you choose (or, if you left the publisher name blank, it will show your author name).

In retrospect, I wish I had bitten that expensive bullet at the outset and bought my own ISBNs from Bowker. After all, that’s part of the cost of doing business and self-publishing is a business.

~~~

None of my errors has proved fatal (yet!). I’m sure I’ll make new ones in the future. Thankfully most mistakes or wrong choices can be reversed. Fixing them just takes time…time you’d rather spend writing.

Fortunately, lots of solid information about self-publishing is available. Here are several sources I trust:

Alliance of Independent Authors (ALLi);

Dave Chesson (excellent advice about Kindle Direct Publishing);

Joanna Penn (tenured, respected expert);

Insecure Writer’s Support Group (IWSG) offers this comprehensive resource list.

We don’t know what we don’t know but, with time, we learn.

Then we learn there’s always more to learn.

~~~

TKZers: if you self-pub, what do you wish you’d known when you started?

If you haven’t self-pubbed yet, what question concerns you the most?

 

The Project Plan

“By failing to prepare, you are preparing to fail.” – Benjamin Franklin

* * *

Last week, Garry Rodgers wrote a TKZ post about Leonardo da Vinci that explored the idea of using both sides of the brain: the left (analytical) and the right (emotional). Today’s post on project plans is all about the left side.

* * *

Let’s start with software. Software development projects are carefully planned and tracked. At least they should be. A large deliverable may involve many actors including developers, documenters, administrators, and testers. A good project manager will maintain a gantt chart much like the one pictured below (intentionally blurred), to document the various deliverables, dependencies, and milestones.

Gantt charts can contains hundreds of line items, so they’re a good way to keep track of everything. But there are pitfalls. Some project managers become so enamored with the bells and whistles of project planning software that they end up managing the plan rather than managing the project.

* * *

So what does this have to do with writing? Although writing is considered a right-brain function, the tasks that go into publishing a book are lefties.

My first book was traditionally published. Once the publisher offered a contract and I signed, they took the steering wheel. They had their own editors that I worked with. They also came up with several different cover designs for me to choose from. They purchased the ISBN and arranged for the copyright. They also decided on the release date and took care of uploading the book to the retail sites as well as Ingram Spark. I didn’t have a lot to do during that phase except ask some people for endorsements and review the situation whenever the publisher contacted me. There was no need for me to have a formal plan. But then things changed, and the rest of this post has to do with all the things that go into self-publishing a novel.

* * *

When my husband and I decided to self-publish the next book, we established our own publishing company, Wordstar Publishing, LLC. The process of publishing a book became a lot more difficult.

I started with a simple to-do list, and things went fairly well, but I only had one book to worry about. It soon became clear that I needed a project plan to keep track of all the threads.

So now I have a project plan for each book. I don’t use a gantt chart, but I maintain an excel spreadsheet with categories. Each category has a list of tasks and each task has a target date, completion date, and notes.  Although I’m an avid follower of the KISS principle, there are well over a hundred line items on the plan for my latest book, and it will grow as I add book promos and feedback.

Here are the major categories and a brief description of each one:

  • Writing / Editing – Everything it takes to get the ms ready for publication. Original ms, dev editor, revisions, line editor, proofreader, text to speech.
  • Beta Readers – List of all the wonderful people whose feedback makes it a better book.
  • Endorsers – More wonderful people who add credibility to the book.
  • Cover Design – Work with the designer, finalize the image, provide back cover copy
  • Copyright & Library of Congress – Get copyright and Library of Congress number. Send copies to gov agencies.
  • Wordstar Publishing tasks – ISBN, barcode, contract with author
  • Website – Update kaydibianca.com with book info
  • Format and Finalize – Format in Vellum, finalize front and back matter
  • Launch-related activities – Identify launch team, finalize emails, newsletters, images
  • Prep for Pre-order and Final ebook – Choose ebook release date, prepare pre-order and upload to retail sites. Upload final version.
  • Prep for Release of Print copy – Choose print release date for retail sites. Upload final version.
  • Ingram Spark and Draft2Digital – Upload ebook and print to Ingram Spark. Upload to Draft2Digital for library distribution.
  • Editorial Reviews – Identify and contact orgs for editorial reviews
  • Marketing – Promos, giveaways, book store contacts
  • Mail books – Send copies to all the folks who helped along the way

So there you have it. A way to keep organized and stay on-target.

* * *

Over to you, TKZers. How do you organize publishing your books? Do you maintain a project plan? What other activities do you track beyond what I have on my list? 

* * *

Cassie Deakin has one item on her to-do list: find out why two ex-cons attacked and almost killed her beloved uncle. But can she complete the task before she becomes the next victim?

Lacey’s Star: A Lady Pilot-in-Command Novel.

 

Self-Publishing Words of Wisdom

Self-Publishing Words of Wisdom

Last September I gave a presentation on self-publishing at the Newport, Oregon Public Library, for the Coast Chapter of Willamette Writers. It was well-attended, and there were a lot of thoughtful questions asked by the engaged audience. One of my challenges was focusing on evergreen advice rather than tips for the passing moment. Digital self-publishing has seen a lot of changes since 2008. Gold rushes have come and gone, as have marketing fads. The market has matured. But, you can still make money, possibly pretty good money, perhaps even enough to live well on, and, as important, you can still reach readers directly.

With that in mind, this Saturday’s Words of Wisdom shares excerpts on self-publishing from past January Kill Zone posts. James Scott Bell gives timeless advice on succeeding as a self-publisher, while Joe Moore gives tips on editing yourself, and P.J. Parrish looks at giving your book covers a makeover. It is always a challenge being selective in choosing an excerpt, but especially today. All three posts are worth reading in their entirety, and I provide links to each below.

So what does all this mean for the indie writer, new and used experienced? Is the “gold rush” over? Is the sky falling?

First of all, just like in the Old West, the gold rush made scant millionaires. There were never going to be abundant strikes except for the few. If the gold rush in digital publishing ever was, it was irrelevant to the vast majority of authors.

Second, the key to making a living as a writer (subtle plug for my book of the same name), has not changed and will never change, because it’s always been the same!

To wit:

You have to write books that are good enough to get the people who read them to want to read more from you, and to recommend you to their friends and social circles.

It doesn’t matter how glitzy your marketing or how cleverly you try to game algorithms. You have to be good at what you do. Imagine that! You get rewarded for merit, not gamesmanship!

And that also goes for discoverability, a word that has overstayed its welcome and is too often used as a Cassandra cloak for expostulations of impending doom.

Phooey.

The indie writers I know who were making a living writing in 2013 were still making a living—and in most cases, a better one—in 2014.

I’ve noticed a few things they have in common:

  1. They know their craft.All the successful indie writers I know personally paid their dues back in the “trad old days.” They studied and wrote and sacrificed and wrote and submitted and got rejected and kept writing. They spent years getting good at what they do. When the trad publishing contracts started looking grim compared to what self-publishing offered, they jumped in with one or both feet. And they were ready.

So what does this mean for the newbie writer? It means that you must set your standards high and create what I call a grinder. You must set up a system that holds your writing feet to the fire, and makes you get better at your craft.

Early in my career I was fortunate to work with one of the best fiction editors in the business. He would send me long, single-spaced letters, ripping into my books at the plot, character, and style levels.

I feared those letters. I would place them unopened on the corner of my desk and just look at them for a few days. I had to work myself up into readiness. Finally, I would read them several times, highlight things with a felt-tip pen, and then take a few hours to recover. Then I’d start revising.

I also had to get rid of any chip on my shoulder. I had to be willing to make changes. Yes, on occasion there were things I fought for. But I came to realize that this editor knew his stuff, saw things I could not, and thus made me a better writer.

As a new author, you have to figure out a way to get this kind of grinding feedback, and be willing to dig in and work hard. Some time ago I listed a way to do that with beta readers and a professional editor. Look for it within this post.

James Scott Bell—January 11, 2015

 

The next type of editing is called line editing. Line editing covers grammar and punctuation. Watch for incorrect use of the apostrophe, hyphen, dash and semicolon. Did you end all your character’s dialogs with a closed quote? Did you forget to use a question mark at the end of a question?

This also covers making sure you used the right word. Relying on your word processor’s spell checker can be dangerous since it won’t alert you to wrong words when they are spelled correctly. It takes a sharp eye to catch these types of mistakes. Once you’ve gone through your manuscript and performed a line edit, have someone else check it behind you. A fresh set of eyes never hurts.

On-the-fly cut and paste editing while you were working on your first draft can get you into trouble if you weren’t paying attention. Leftover words and phrases from a previous edit or version can still be lurking around, and because all the words might be spelled correctly or the punctuation might be correct, you’ll only catch the mistake by paying close attention during the line edit phase.

The many stages of editing are a vital part of the writing process. Editing your manuscript should not be rushed or taken for granted. Familiarity breeds mistakes—you’ve read that page or chapter so many times that your eyes skim over it. And yet, there could be a mistake that you’ve missed every time because you’re bored with the old stuff and anxious to review the new.

Read your manuscript out loud, or better yet, have someone else read it to you. Mistakes and poor writing will become obvious.

Spend the time needed to tighten and clarify your writing until there is not one ounce of fat or bloat. And once you’ve finished the entire editing process, put the manuscript away for a period of time. Let it rest for a week or even a month if your schedule permits while you work on something else. Remember that indie publishing means that you set the deadline and pub date. Then bring it back out into the light of day and make one more pass. You’ll be surprised at what you missed.

Joe Moore—January 20, 2016

 

What I think we should pay attention to is:

  • Professionalism
  • Consistency of brand
  • Messaging

Professsionalism means you can’t get away with a lousy, cheap-looking cover. Because it yells in neon to a potential reader “I am an amateur!” This applies especially if you are just starting out. Like they used to tell us in “women’s magazines” — dress for the job you want, not the one you have. Don’t design your own cover unless you have solid graphic background and even then — GET INPUT! Would you edit your own story? No…you get beta-readers, you hire copy editors. (If you do edit your own books, you’re a fool). You might have to hire a pro to do this. There are lots of good ones out there. Please don’t skimp on this. Please.

Consistency of Brand means your books have to look alike. I don’t mean literally, but they have to all be of a kind so potential readers can immediately sense a unified brand.  All good authors do this. And periodically, they go back in and re-design their older books en masse to give them face lifts. Time for an object lesson….

My friend Neil Plakcy (a member of my old critique group) has been publishing his Golden Retriever mystery series for about ten years now. His books are a lot of fun (the dog helps solve the crime), light in tone, but also deal with some serious issues. (his hero did prison time for computer crimes.) Recently, Neil decided he needed a make-over.  The first line is before, the second line is after. Click to see enlarged.

What was wrong with the first ones? Inconsistency in type-faces. Type too small. The main important image (the dog!) was usually too small and static (the dog is just sitting or standing around mainly). No one compelling image for the eye to focus on. The pictures didn’t capture the books’ playful tone. Dull colors. And hard to find Neil’s name!

What is right with the second ones? The type is consistent and DOG is set bigger and in contrasting color to drive home the content in a glance. The subtitle “A Golden Retriever Mystery” is always the same size and in the same place. Neil’s name is consistent and authoritative. There is negative space for blurbs. And the dogs are so cute they make you want to adopt them. These covers look designed, not slapped together.

Disclaimer time: My sister Kelly designed the new covers. She does this as a side business and this is not an infomercial to get her work because I don’t want her attention on anything else but our stuff for now. But she and I also are redesigning our own back list covers.  And, I gotta tell you, it’s not been easy.

P.J. Parrish—January 1, 2019

***

Are you a self-publisher?

What evergreen tips do you have?

What constants do you see in self-publishing?

Rookie Mistakes Indie Writers Make

by James Scott Bell
@jamesscottbell

Sometimes it’s hard to believe that the Kindle made its appearance nearly twelve years ago. It ushered in the greatest boon to writers since Gutenberg—independent publishing. Not only did this sea change give new writers a way to get their work out to the world instantly; it also saved the careers of many midlist writers who were let go by their publishers due to lack of sales.

In those heady, early years a veritable Sargasso of sloppy mistakes were made by over-anxious newbies. Everything from lousy formatting to horrific covers (“But my daughter designed the cover for me, and by golly, I’m going to use it!”)

As the years rolled on, and blogs and books on indie publishing proliferated, quality issues slowly improved. That still did not guarantee huge sales numbers. You still had to write a good book! But we’ve now reached a point in indie publishing that I would call the “mature phase.”

Still, however, rookie mistakes are made by new writers. I’d like to point out three, and then turn the conversation over to you.

Cover Chaos

The other day I was browsing in the Kindle store when a cover popped out at me. Popped, but didn’t grab. I don’t want to embarrass the author, so I’ll just describe in general terms what it looked like.

The colors were fine, the fonts were good, the image — a small, shadowy figure — communicated thriller.

But the title did nothing for me. At least, what I thought was the title. For it turned out the title was a name. At first, I thought the name was that of the lead character, since it had a “title-like” font.

I should mention that the book cover was displayed in thumbnail form, which is significant because I then noticed, almost too small to read, something below the name.

It was the actual title.

And then, on the bottom of the cover: A ____ _____ Thriller.

Which meant, of course, that the font dominating the cover was the author’s name.

One little problem: this is the author’s first book. We’re not talking Lee Child here. We’re talking a rookie whom no one outside his immediate circle has ever heard of.

To give you an idea, I did a quickie mockup to show you the proportions. The names have been changed, of course.

As much of an ego boost as it is to see your name above the title, your first book is not the time to do it. Your task is to sell books and make repeat readers.

When might you put your name above the title?

a) When you hit a major bestseller list

b) When you win a major award

c) When your book sells a million copies

d) When you have established solid sales over four or five books.

Then you can move from this:

To this:

Not Paying for a Good Proofreader

I was teaching at a conference in Oklahoma recently, and took Lyft to the airport for the flight back to L.A. As I usually do, I engaged the driver in conversation. He was a local, a gray-haired ponytail fellow who goes around to fairs with a trio of guys reenacting Old West gunfights. He asked what I did and I told him and he said, “Hey, my buddy writes crime novels. He’s really into it. He’s written two of ’em.” Pause. “He needs an editor, though. A lot of mistakes and typos.”

“Uh-huh,” I said. “You can’t do that. At least if you want people to buy another one of your books.”

“I bought his second one,” my driver said, then added: “But only because he’s my buddy.”

You know all those potential readers out there? Not your buddies. So don’t annoy them with a typo infested book.

Typos are the special bane of the indie existence. I’ve often said they are like sand fleas. You get back from the beach, you shower, you think you’re good. Then around midnight, what’s that itch?

Yeah, ick, I know. But that’s how I feel about a typo that slips through.

So find a good proof reader and pay that person. It’s a rookie mistake not to invest in quality control.

And if there’s still a sand flea or two? Don’t worry. A reader will alert you. (Kindle Direct Publishing does, too.) Then you can fix and re-up your book in about ten minutes. I use Vellum for my formatting, so I make the change and then output for both ebook and print. I log into KDP and click a few times and I’m done.

Marketing Mayhem

As a rook, you’ll be tempted to try every dang thing under the sun to get the word out on your book. I’ve already written the wisest guide to marketing out there, one that will save you a lot of stress.

For now I’ll point out the two biggest blunders:

  1. Overlarding your social media with variations on: “I’ve got a book out there you should buy!” Follow the 90/10 rule. Ninety percent of your content should be positive and of some value to the reader. Ten percent you can hawk your books or alert to a deal.
  2. Letting social media overwhelm your actual writing. Remember, the best marketing by far is word-of-mouth, which comes only when you produce a great reading experience, time after time. So use most of your energy to study your craft and write your next book!

Have at it, folks. What other rookie mistakes have you seen? I’m at a conference today so my interaction may be sketchy. Talk amongst yourselves! 

 

How to Make Good Dough Self Publishing

by James Scott Bell
@jamesscottbell

Recently, Amazon’s paperback publishing unit, CreateSpace, sent out an email confirming that CSP was merging with Kindle Direct Publishing. All print-on-demand services are now under the KDP umbrella.

Nothing earth-shattering in all this, just a switch of platforms. Shouldn’t be a big adjustment.

What caught my eye, however, was a line at the end of the letter. Amazon is famously tight with their data, so it was interesting to find this little ditty:

As Amazon’s recent shareholder letter noted, there are more than 1,000 authors who earn more than $100,000 a year from their work with us.

That’s good to know. Because at one time (back in the “gold rush” days of self-publishing, roughly 2009-2012) the vibe was that virtually anybody could make six figures if they wrote fast enough and in the right genre. That was a myth, of course, but like all myths it had a toe-hold in the truth. Some previously unpublished writers, like Amanda Hocking and Hugh Howey, did strike gold. Some traditionally-published midlist writers, like Joe Konrath and Brett Battles, hopped in and hit it big. There were even a few, like Bella Andre, who scorched into eight figures.

So everyone wanted to know who was making what via self-publishing. Some authors gave out their numbers. But that small sample size couldn’t tell the whole story. Then Hugh Howey and the mysterious “Data Guy” started their Author Earnings reports, which scraped hard data out of Kindle sales rankings. And yes, indeed, a lot of indie writers were doing very, very well.

AE is now dormant, having transitioned into Bookstat.com, a pricey service for companies whose “annual revenues are $10 million or more.” But the final AE report showed that while the gold rush days (such as they were) are gone, indie publishing is here to stay.

But it wasn’t until I saw that Amazon number—1,000 making over $100,000—that I was able to get a feel for how many authors are in that zone. (We must note that Amazon’s number would include non-fiction as well.)

Now, if a thousand indie authors are making six figures a year, I would venture to say that a substantially higher number are in the fives. Very few fiction writers of the past ever made it there. That’s why I continue to say it’s the best time on Earth to be a writer.

Of course, the admonition, “Your mileage may vary” is more apt in the writing game than anywhere else. There are so many variables at play that no two writers will ever come out the same in terms of method, production, and income.

But there are ways of increasing your odds of monetary success, just as there are fundamentals in any entrepreneurial endeavor. And that’s what self-publishing is, after all.

Written Word Media conducted a survey comparing authors who make over $100,000 a year (“100kers”) and those earning less than $500 a year (optimistically called “EAs” for Emerging Authors). Some interesting results here, including:

  1. Indie authors dominated the 100k club.

We wanted to know if there was any correlation between how an author was published and whether or not it got them to the 100k club. The results were pretty surprising to us. Of all 100kers none were purely traditionally published. To be fair, only about 5% of overall respondents were solely traditionally published (James Patterson did not take our survey), so traditionally published authors didn’t make up a big part of the surveyed audience, but none of them were in the 100K club.

Of the 100kers surveyed, 72% were indie and 28% were hybrid. Publishing independently rewards authors with higher royalty rates which means it is easier to start generating meaningful revenue when you self publish. The Author Earnings reports are showing a trend in which indie authors are taking share from traditional publishing, despite the fact that titles of indie books are priced lower than traditionally published titles.

  1. 100kers spend more on covers and professional editing.

No surprise there.

  1. It takes time. 88% of 100kers have been at this for 3 years or longer.

Indie publishing is no get-rich-quick scheme. In the traditional world they used to say it took 3-5 books to establish an author. Unfortunately for writers who have entered the Forbidden City, that number is now only 1-2.

  1. 100kers use paid marketing (e.g., deal alert sites like BookBub; paid ads with Amazon and Facebook) more than social media marketing.

That’s because social media does not sell a lot of books.

  1. Being prolific matters.

From the survey:

Emerging Authors spent 19.8 hours per week writing, compared to 100Kers who spent 28.6 hours per week writing. That’s a 46% increase! The 100kers write a lot more than the emerging authors.

To this list, let me add my own advice:

  1. It helps if you can write

We should all know this by now, but it bears repeating: far and away, the best and most ubiquitous marketing tool is word-of-mouth. And that is generated by, gasp, writing books that are so good people talk about them.

Which is what TKZ is all about—helping writers get better. It’s something you should want to do anyway, if you’re a real writer.

  1. Think like a publisher

You need to put your projects through an analysis like a pub board at a traditional house would. Who is going to buy your book? Is there an audience for your genre? How popular is the genre? Who are some other authors doing well in this area? What are they doing in terms of marketing? What can you learn from them?

Are you an author who can keep producing? In the traditional publishing world, a bestselling author used to be held to a minimum of one book a year. These days, some publishers are pushing their A-list writers to do two books a year, supplemented by a short story or two for marketing purposes.

If you worked at a publishing house that needed to make a profit, would you offer a contract to yourself?

  1. Establish a system of quality controls

If you self-publish, quality of production is your responsibility: editing, cover design, formatting, marketing, SEO, metadata and so on. You can learn do to some of this on your own, but other things, like cover design, you’ll want to farm out. Do your due diligence and be prepared to invest some money.

Also be prepared to review your system as each new book comes out, and make incremental changes geared toward greater quality. That’s called kaizen in business circles.

  1. Learn a few basic marketing skills

Even traditionally published authors have to do this, so don’t complain. As Russell Rowland recently put it:

The part that I never quite understood was the lack of support from the publisher, but it did give me a strong understanding that this is a business where you can’t rely on others to toot your horn. If they do, it’s a bonus. But marketing is up to the writer, even if you’re with a major publisher.

But beware, it is very easy to fall into the vortex of marketing frenzy, thinking you have to do every single thing possible lest you miss out on the “tipping point” of massive sales. Big mistake. Which is why I wrote a book on the tools that really work.

  1. Repeat, over and over, the rest of your life

You want to be a writer who makes some a good side income or maybe enough lettuce to live on? Then work hard. This is business. But if writing is what you love (and it should be, because there are plenty of opportunities to quit), then keep on writing until they pry your cold, dead fingers off the keyboard.

Do you have a “system” for your writing career? Not just how you write a book, but how you see yourself in the world of publishing and what steps you are taking to make it happen.

What Should I Expect From My First Novel?

by James Scott Bell
@jamesscottbell

I got an email the other day from a young writer seeking advice about his foray into self-publishing. Here’s a clip:

As for my career this is going to be my debut work and as an author I currently have no following. My goal with the book is to establish myself professionally and get a small following going as well as bring in a good amount of money for a first book. My question is what are some steps I can take to build publicity about the book and myself without having any real following or platform?

Here is my answer.

  1. A small following does not bring in “a good amount of money”

Of course, what qualifies as a “good amount” varies, but I’m assuming this writer means more than Starbucks money. To get there, you’ll need a large following and more than one book. When it comes to anything in the creative industry, if you are only focused on money, then you’re passion won’t shine through as much as you’d like to think. A lot of people can get caught up in this, especially just starting out. I know a few elderly people who were writers and did it becuase they loved it. After a while, they started publishing their stories and made a lot of money from it. A number of years after, they decided to retire. But because they had been writing for so long, they didn’t know where to begin on the retirement journey. So, they were advised to look into specialist companies like KeyAdvice for financial advice. I still speak to them sometimes and they tell me about all their stories about the holidays they have been on and how they are still writing. Not for profit, but just because they love it that much. Being an author can be rewarding. Everything will eventually fall into place for us creative individuals. We all need money to get by, but this shouldn’t just be your main focus.

So here’s what you should do to start off as an author…

  1. Attract a following with really good books

And what qualifies as a good book? Any book that follows all the advice on Kill Zone.

Ahem.

Only halfway kidding. It’s a book that is crafted in a way to connect with readers. It’s a book by an author serious about that craft. Which means …

  1. Get serious about your craft

Because this is what you want to do. But there’s a big difference between wanting to do something and actually doing it well. Get feedback from a critique group or beta readers or professional editors. And…

  1. Plan ahead

Even as you’re finishing your novel, be developing two or three or four more, because …

  1. Your first novel will probably not be ready for prime time

They say everybody has a novel inside them, and that’s usually the best place to keep it. Really. First novels are almost always best seen as a learning experience. Rarely does an author hit it out of the park on the first pitch. In the “old days” of traditional publishing (roughly 1450 – 2007) the vast majority of authors went through many rounds of rejection, and it was that third or fourth or fifth novel that finally sold.

There were some notable exceptions, like Brother Gilstrap’s debut effort, Nathan’s Run. An exception which, you guessed it, proves the rule.

Today, of course, you can easily self-publish, but that ease is a lure, because …

  1. Self-publishing is not a get-rich-quick scheme

The explosion of content out there now demands not only that books be of good quality, but that the author understand and implement some basic fundamentals about running a small business.

Self-publishing can be a profitable enterprise if you …

  1. Produce and market at a steady clip

The only real formula for making bank as an indie is quality production over time, sprinkled with a modicum of marketing knowledge. Keep in mind that the single greatest factor in selling books is word-of-mouth. Hands down. Glitzy marketing efforts only get you so far. Your books have to do the heavy lifting, so don’t fall into the trap of thinking the only thing that matters is how vigorously and breathlessly you check all the marketing boxes.

Keep writing and learning on parallel tracks, and …

  1. Don’t go shopping for a yacht

At least not until you can pay cash for it, and have enough in the bank for docking fees, upkeep and a crew. Which reminds me …

  1. Learn to handle money like a Scottish shopkeeper

That’s good advice for anybody, no matter what they do. But what you do is write, so follow the above advice and…

  1. Repeat over and over the rest of your life

A real writer writes and does not stop, even if it means managing only 250 words a day between family or work obligations. Even if it means you’ve got a broken leg and you’re in a cast that’s hanging on a chain from a rack over your hospital bed. You can still talk 250 words into Google Docs through your phone.

That is what you can expect from your first novel.

So, Zoners, what did you all learn by finishing your first novel? Where is it now?

 

Writers Need to be Amphibious

by James Scott Bell
@jamesscottbell

So here we are at the end of another Kill Zone year. (We’ll be taking our traditional two-week break starting tomorrow.) It’s been an amazing run for this blog, which began way back in August of 2008. I’m in awe of my colleagues, both present and emeriti, for the depth of their wisdom and generosity of spirit toward the writing community.

Emeriti, by the way, is the Latin plural of emeritus.

Aren’t you glad you stopped by?

Reminds me of my favorite Latin joke. Or I should say, only Latin joke.

Julius Caesar walks into a bar and orders a martinus.

The bartender says, “You mean a martini?”

And Caesar says, “If I wanted a double I would have asked for it!”

Speaking of which, 2017 was a year a lot of people ordered doubles. I seriously think we need to take a collective breath and, for a couple of weeks at least, imbibe the true spirit of this season: family, friends, generosity and gratitude.

And just plain old relaxation! So kick back and watch a couple holiday movies (Miracle on 34th Street and the 1951 Christmas Carol are always at the top of my list, though I would remind everyone that Die Hard and Lethal Weapon are Christmas movies, too!)

Don’t stress about things you can’t control (this is the wisdom of the Stoics, and what says holiday fun more than the Stoics?) As Epictetus (b. 50, d. 135) so succinctly put it, “There is only one way to happiness, and that is to cease worrying about things which are beyond the power of our will.”

Changes in technology, Amazon algorithms, the size of advances … these are beyond the power of our will. Ditto the shrinking of slots in traditional publishing catalogues, the number of bookstores that are still open, and bestseller lists (unless, of course, one takes the nefarious road of buying one’s way onto the NYT list, in which case the power of will has been corrupted by the siren song of list-lust. Don’t go there).

Nor can we stuff a stopper in the flood of system gamers, sock puppets, nasty reviewers, and inveterate haters—except to the extent that we adamantly refuse to become one of them.

What is within our power?

Our writing, of course. Our dedication to it. Our determination. Our discipline.

The page we’re working on.

The goals we set and the plans we make.

Concentrate on those things. Chill about the rest.

This is still the greatest time on earth to be a writer. Remember, just ten short years ago there was only one way to get published and into bookstores. The walls of the Forbidden City were formidable indeed.

Then came the Kindle, just in time for Christmas 2007, and suddenly there was another way to get published and into the largest bookstore in the world (with your cover facing out, no less!)

During those heady first years of digital disruption, a few pioneering scribes jumped in and showed massive ebook sales at the 99¢ price point. This got the attention of writers inside (and formerly inside) the Forbidden City, and ushered in a “gold-rush” phase when good and productive writers began to make really serious money going directly to Amazon.

At the same time, traditional publishing began to stagger around like a boxer who gets clocked just before the bell rings to end the round. Many predicted that by 2013 or ’14, the whole traditional industry would be kissing canvas.

Instead, we have entered a new equilibrium where the wild highs in the indie world are leveling off, and the disruptive lows in the traditional world are bottoming out (as one trad insider put it to me, “Flat is the new up.”)

But change, albeit more slowly, continues. Thus, what both of these worlds demand are a new set of business practices. I’ve tried to provide these for the indie writer. I’m not sure who the Bigs are listening to, but I suspect they need more Sun Tzu than Peter Drucker these days.

However, here is one bottom-line truth that applies across the board and will always be apt: What wins out in the end, and perhaps the only thing that does, is quality plus time, which I define as steady fiction production providing a swath of readers with satisfying emotional experiences. This holds true for any genre. You can figure out and strive to do the things that create reader satisfaction.

And what are those things? They are matters of craft. The more you are conversant with the tools and techniques of fiction, the better your quality control. It’s like that inspirational quote from a college basketball player some years ago. During an interview he said, “I can go to my left or to my right. I’m completely amphibious.”

Writer, you have to be amphibious to make it in the swirling ocean and on the rocky shores of the book world today. So my end-of-the-year suggestion is this: Invest in your writing self. Spend a certain amount of money on writing-related improvement, like books and workshops. Go to a good conference and network with other writers. If you’re starting to realize a little income from your writing, set aside a portion of it for this type of ongoing investment.

And do take advantage of one of the best free writing resources around—Kill Zone! Traipse through our library and archives. Subscribe to our feed so you don’t miss a day. Leave comments! We love the writing conversation.

We’re on this journey together, so keep in mind something the great Stoic philosopher Yogi Berra once said: “When you come to a fork in the road, take it.”

Let’s take it in 2018!

Blessings on you this holiday season, from all of us at TKZ to all of you.

Digital Self-Publishing Saves a World War II Memoir

by James Scott Bell
@jamesscottbell

Gather ’round, children, and let me tell you a story about self-publishing back in the olden days.

Now, I know you kids think it’s always been easy. You just hit “upload” and … Johnny, put down that iPad! I’m telling you about real self-publishing, back when a writer had to have guts and grit! The days when self-publishing meant you paid for an honest-to-goodness print run and … Yes, Jenny? … no, print run was not a 5k. It meant shelling out money for printed, bound books made with pages made of actual paper! And let me tell you, that was not cheap! And at the end of it all, you know what you’d get? A bunch of boxes of unsold books in your garage!

You see, there has always been self-publishing in America. Thomas Paine, Mark Twain, and Walt Whitman dabbled in it. Heck, Whitman may have been the first sock puppet, writing a glowing anonymous “review” of Leaves of Grass and buying space for it in a literary journal.

But it was in the 1970s and a man named Bill Henderson that modern self-publishing went wide. Henderson’s The Publish-It-Yourself Handbook started a small but growing movement of ex-hippies and frustrated wannabes designing and printing their own work. (This is not to be confused with “vanity publishing,” wherein a company took a whole lot of money from you to produce a print run of books that would, well, remain in boxes in your garage.)

In 1979 Dan Poynter published the first of several editions of his Self-Publishing Manual, bringing a much-needed business sense to the movement.

Which was around the time my dad, L.A. attorney Art Bell, decided to write a memoir of his service in World War II and publish it himself.

Raised in Hollywood, Dad was a star football and baseball player at Hollywood High School. He went on to play catcher for the UCLA baseball team, where his teammate was one Jackie Robinson.

Ensign Art Bell

In college he joined the Navy ROTC program and saw action throughout World War II. He was captain of three ships: the destroyers USS Dallas and USS Kinzer, and his first command and first love, the PC 477.

PCs were 173-foot, steel-hulled submarine fighters. Uncle Sam had thousands of seamen on hundreds of PCs convoying and patrolling in WWII. They were introduced in the desperate days of early 1942, when the waters off America’s Atlantic coast were a graveyard of torpedoed ships. They performed essential, hazardous, and sometimes spectacular missions, yet the PCs were scarcely known at all outside the service.

The Navy didn’t even dignify PCs with names. But the crew of the PC 477 did. They called her “Peter Charlie.”

Which became the title of Dad’s book. It was a true labor of love, and brought him back in contact with many of his shipmates. He collected letters and stories and photos, and organized a couple of reunions.

Dad was already self-publishing a digest on California search and seizure law, which had become the go-to resource in the state, so he had one of his graphics people do the layout of Peter Charlie, which he had typed himself on an IBM Selectric. He then paid a local printing outfit a princely sum for a beautiful hardback edition, with dust jacket and all. I can’t recall how many he had printed up. Maybe 2,000. He sold them himself out of his law office and it found popularity among many ex-Navy men all over the country.

Dad died in 1988 and I took over his practice. And I am proud to report that by 1999 or so, the entire print run had sold out. The book even returned a bit of a profit!

And that might have been the end of things were it not for the most recent iteration of the self-publishing movement: digital. I wanted Dad’s book to live on, and a few weeks ago I set out to make that happen.

First, I had to get the print text scanned. A writer friend recommended BlueLeaf Book Scanning. Per their instructions, I sent them one copy of the hardcover and chose their “destructive” option. That means they take the pages out of the binding for scanning, and you don’t get them back. The entire job cost $37.17. What I got were two Word docs (formatted and unformatted text), two PDFs (one large size, one small), and a JPEG of the dust jacket cover formatted for ebook use.

The scanning job was amazingly good. There was only one minor issue I found and took care of that with a quick find/replace.

Next, I opened up a Vellum project. Vellum is a Mac program for formatting ebooks (and, now, print as well). It is easy to use and creates gorgeous interiors. It will import a docx Word file and create most of the book that way. I went through the formatted Word doc and used cut-and-paste to put it into Vellum. Since there were a lot of block quotes and lists my dad used, this was the best way for me to check the transitions. Once again, Vellum makes the process easy.

I was also able to include photographs from the PDF scan. I copied the photos and saved them as JPEGs, then inserted them into the Vellum file.

Once that was all done, I generated the .mobi file and sent that to my own Kindle so I could go over it on the device and pick up any last formatting issues. I fixed those in Vellum and generated the final .mobi that I used for publication under my imprint, Compendium Press.

The entire project—from the time I shipped BlueLeaf the book to the official pub date—took six weeks.

And so Peter Charlie lives on. My hope is that those who had parents or grandparents who served in World War II and … yes, Billy? … Yes, we won … and anyone interested in a first-hand report of what life was like aboard a naval vessel at that time, will be both edified and educated by this account (I must add a slight language warning here, for the first captain of Peter Charlie was not averse to using God’s name to get the attention of his junior officers, Dad included). It is full of funny stories, historical data, some rare photos, and lots of interesting details.

It’s a Kindle Unlimited title, available here.

So … does anyone else remember the grand old days of self-publishing—before digital and print-on-demand? Anybody got a garage with boxes of unsolds?

Letter to a Discouraged Writer

by James Scott Bell
@jamesscottbell

My man,manwriting

Here’s the thing. You got yourself good enough to get a publishing contract back in the “old days” when you needed to impress an agent, get repped, get shopped, and then sign on with a house. Your books came out with nice covers, some marketing, some placement. You did book signings and conference appearances. Three books I think it was, right?

So what happened? Sales weren’t enough to earn back the advance. And not enough to get another contract from the publishing house.

There’s an author support group for that. It’s called “Practically Everyone” and they meet at the bar.

I don’t know the exact percentage, but most fiction authors who ever lived never caught on in a big way. Many used to manage a “midlist career” which meant at least enough sales to keep on publishing, though not enough buy a yacht.

So you went through a dry period. Your agent shopped you but without success. So you parted ways. That was a tough time for you. You wondered if you’d ever get published again.

A couple of your colleagues, myself included, suggested you ought to look into self-publishing. That was four or five years ago. You said you didn’t have the desire to learn “all that stuff.” You just wanted to write.

Then you found another agent, a newer one, and he thought you ought to start over with a pen name. So you did. And he got you a contract. (See? You are still good enough!) Yes, it was a smaller house, so the advance and marketing were minimal. You got some good reviews for the new book, which was to be the start of a series.

But the book went nowhere. And the publisher decided not to bring out the next book. (To hear more stories like this, go to the next Practically Everyone meeting at the bar).

Then your agent got out of the business.

You told people, That’s it. I’m done. Goodbye, writing. No use. Never again.

Your colleagues gave you a pass the first time you expressed this. We all understood. But when you did it again, I decided to write you this letter.

Look, bud, are you a writer or aren’t you? I’m not talking about someone who has a contract. I’m talking about someone who has this yearning to tell stories because you’ve been caught up in storytelling dreams and you want to do that for other people.You long to move them, entertain them. Is that you? Then you’re a writer.

And as such, you’re subject to the slings and arrows of this crazy business. The question is, what are you going to do when you get a few arrows in the keister?

You can give up. Or you can go see Miracle Max. (You’re only mostly dead!) And when you can sit comfortably again, self-publish.

Sure, it takes effort to learn what to do. But no more effort than it took you to learn how to write a good scene.

I know, I know. You’ve heard about that massive “sea of content” out there. Yes, you’ll be starting out as a minnow. But at least you’ll be alive and swimming. The beach, meanwhile, is covered with rotting kelp and flies and the bones of writers who gave up.

When you self publish, you’ll instantly be better off than you are now. Like the old prospector said, “A handful of somethin’ is better than a cartload of nothin’.”

It’s within your power to make it happen. Think about that. You’re not at the mercy of a corporation or committee, or the shrinking shelf space in bookstores. You are your own captain, your own boss.

You say you’re not a particularly fast writer. Well, fine, here’s my advice: write to a quota and stick to it. Find out how many words you can comfortably write per week. Then up that by 10%. You have to have extend yourself a little. Even the lowly oyster needs a bit of grit to make a pearl.

Do you want to be outclassed by an oyster?

Get out of your shell, man. Start by putting out short stories and novellas. Get them out there and in the Kindle Select program. Use the free promotion to move units. Set up an email list with a service like MailChimp or Vertical Response, and make it easy for readers to sign up on your website. Put a sign-up link in the back of your books.

This is your foundation. Meanwhile, work on a full-length novel. Continue your series if you like. Or write that book that’s been tugging at your heart. Keep at it—quota, steady pace. The pages mount up like magic.

You will make some money. How much? It depends. The formula is quality + production + time. Do your best every time out. Keep on doing it.

For the rest of your life.

That’s what I said. Because you’re a writer.

Am I right?

You’re bloody well right I’m right.

So write! You’ve come too far to give it all up now.

Your pal,
Jim

P. S. You still owe me that ten spot, but if you write a thousand words tomorrow, we’ll call it even. Deal?

Self Publishing as a Lemonade Stand

by James Scott Bell
@jamesscottbell

Lemonade

I always used to stop at kids’ lemonade stands. Not anymore, because you can’t find them. You see, our local government here in Los Angeles, which is so business-friendly scores of enterprises are moving to Texas, decided to regulate the tots and their drinks some years ago. It’s happening all over. Not even Jerry Seinfeld could talk his way out of a lemonade shutdown.

Idiotic and sad, because the lemonade stand was often a kid’s first lesson in free enterprise and what it takes to run a successful business. That’s why I always stopped. I love encouraging ambition and the work ethic in kids.

Self-Publishing is a bit like running a lemonade stand, only without government interference. There’s a little something called the First Amendment, you see. With that in mind, what are some of the lessons we can glean from those little businesses we used to see in the summer by the side of the road?

  1. You’ve got to have a good recipe

The quality of the lemonade is the most important thing. Why? Because it leads to more business. I remember stopping at a stand and tasting dull, watery lemonade. And at another where there was way too much sugar in it. But when I got that glass of fresh lemonade that was just right, I went home and told my wife to go get some, too. A quality product gets talked about.

Writer, the most important thing you can do is write books people delight in and want to tell others about. Don’t serve up an inferior brew. You want word-of-mouth from your customers, not just a polite nod as they go looking for another stand.

  1. Get your mom to taste it

Before going out on the street, you need an expert to check your lemonade. Mom knows best. She can suggest changes and show you how to make a better batch.

Just like a good book editor, critique group, or beta readers. Indie writers need solid outside opinions of their work before they put a book up for sale. The ones who ignore this part of the process soon realize no more cars are stopping.

  1. Create curb appeal

The best lemonade stands had a nice look about them. They weren’t just a table and chairs. The owner-operators took time to create a colorful sign prominently featuring LEMONADE on it, with the price. It was big enough to read as you drove by, and wasn’t just a quick scrawl with a crayon on cardboard.

Self-publishing writers need eye-catching covers and compelling book descriptions. We all know that. Great covers and copy will get you to the next step in the selling process, a browse of the sample. So don’t shirk on the design element.

For covers, hire a pro. Expect to pay between $250 – $500. You can pay less, but caveat emptor. You can pay more, but I’m not sure you get more bang for your buck above half a grand.

You must also learn how to write compelling book descriptions. A solid formula can be found in this post.  Study book descriptions in your genre by browsing Amazon.

  1. Spread the word

I always liked seeing a little creativity in a lemonade stand’s “publicity.” Like when a kid would call out to the cars driving by, but not just by shouting, “Lemonade!” It was more like, “Cool off! It’s refreshing! Give it a try!”

When you start taking to social media, writer, don’t just shout, “Book! Buy my book!” Instead, create desire by telling people how it refreshes. Be fun about it. Don’t oversell.

I remember my own lemonade stand efforts. You know who did the most buying? The neighbors who already knew me.

In the same way, build up your social media presence by being a good neighbor. That should be your main focus, always. Then when you come out with a new book, you can announce it to those with whom you already have a trustworthy relationship.

  1. Thank your customers

It was always fun for me to pull up to the curb and see little faces light up. But much more do I remember one stand run by a couple of girls who jumped up and down and shouted, “Thank you! Thank you!” as I drove away. Their sincere gratitude was infectious.

Nurture your readers. As you begin gathering an email list, don’t pepper them with buy messages. Thank them every now and then. Put a “Thank you for reading” note at the back of your books, with a link to your sign-up page and a request for a review. Keep it simple. And sincere.

If you need some lessons in running a lemonade stand-style publishing business, I can offer you a couple of resources:

Self-Publishing Attack

How to Make a Living as a Writer

You will have challenges, of course. That’s another great lesson for kids, one they need to get early––things don’t always go swimmingly, even with your best efforts. That’s why you don’t give up. You look at the setback, learn from it, and try again.

Remember, if life gives you lemons, gather them up and throw them at people you don’t like either make lemonade or learn how to juggle.

How about you? Did you ever set up a lemonade stand when you were a kid?

If a child came up to you and said, “Gee, I’d like to be a self-published writer someday!” what would you tell them?