Category Archives: self-publishing

How to Make Money Self-Publishing Fiction

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James Scott Bell
@jamesscottbell

Last week’s post on publishing options drew some spirited responses, especially from one of TKZ’s erstwhile contributors. In his opinion, “self-publishing is an exercise in frustration and a path to near-assured failure for first-time authors.”

Now, I have great affection and respect for said commenter, who argues well for his point of view. But I was nonetheless discomfited by that “near-assured failure.” Been thinking about it all week. What does “failure” even mean? Who sets the standard? If a new author finds a way to make steady but not huge income, is that “failure”? If a new author keeps working and growing as a writer, is that “failure”? On the other hand, might it possibly be said that self-publishing, done consistently and skillfully, can actually lead to near-assured success? What is “success”? Is it a loyal readership, even if it pales in comparison to Dean Koontz’s (well, every readership pales in comparison to Dean Koontz’s)? Is it the happinessthat comes from writing and publishing more, faster, being in control of one’s destiny and, yes, making some money at it?

This led me to reflect, yet again, on the writers I admire most: the professionals of the old pulp days. I’ve been on record for a long time stating that this new digital age is like the pulp era, only with more opportunity and potentially better pay. But it requires a certain kind of writer. One like Erle Stanley Gardner (1889 – 1970).


Gardner is best know as the creator of Perry Mason. When he hit on that character and that formula, he was set for life. But what most people don’t know is how hard he worked to get there. He was a practicing lawyer in the 1920s, and was looking for a way to make money on the side. Writing for the exploding market in detective and crime fiction seemed promising. 

He set out to do it the only way he knew how––full speed ahead. His output was, as he described it later, “man killing.” One hundred thousand words a month. A month. Over a million words a year, for at least ten years. (And much of it while he was still practicing law).

He did manage to sell some stories, but not enough to please him. Then one day he realized he did not know how to plot. His stories were merely “event combinations.” Lawyer that he was, he set out to find out how to write plots that sold (I resonate with this, because I was a practicing lawyer when I set out to learn the same thing!)

Boy, did he ever get it. And he kept up his prodigious output until he was a mainstay of famous pulps like Black Mask. Then, in 1933, came The Case of the Velvet Claws and the

introduction of Perry Mason. There was no looking back. At one time Gardner was listed in the Guinness Book of World Records as the bestselling author who ever lived.


While the success that Gardner achieved is rare for writers of any stripe, his example and work ethic can be replicated today. More and more authors are doing a nice business self-pubbing. I’m not just talking about the “stars” like Hugh Howey, Bella Andre and the newest sensation, Colleen Hoover. I’m talking about people you’ve never heard of, and who don’t really mind that because they have plenty of readers who have.

So how do you self-publish fiction successfully? Learn the following lessons from Erle Stanley Gardner. (Note: The info in this post comes from the biography of Gardner by Dorothy B. Hughes.)

1. Treat it like a job

For Gardner and other successful pulpsters, writing was a job, especially during the Depression. They had to eat. They didn’t have time to sit around the coffee bar ruminating about theories of literature. They actually had to produce stories, lots of them. They studied the markets (and wrote in popular genres, like detective and Western) and pounded the keys of their manual typewriters. Gardner was a two-finger typist and had to put adhesive tape on his tips because they would start to bleed. (This is one reason he later turned to dictating his stories, having them transcribed by a team of secretaries).

Seeing writing as a professional pursuit, Gardner reflected on his previous work in the sales field. “I had always told our salesmen that if a man had drive enough, if he kept on punching doorbells, sooner or later he would make his quota of sales. I guess the same thing applies to story writing. I know it did in my case.”

It can in your case, too. Volume is a key to success in self-publishing fiction. That, and learning a few business basics and strategies.

2. Treat it like a craft

When Gardner kept getting rejection slips that said “plot too thin,” he knew he had to learn how to do it. After much study he said he “began to realize that a story plot was composed of component parts, just as an automobile is.” He began to build stories, not just make them up on the fly. He made a list of parts and turned those into “plot wheels” which was a way of coming up with innumerable combinations. He was able, with this system, to come up with a complete story idea in thirty seconds.

Learning to plot stories that sell can be done, because Gardner did it, and I did it. And I wrote a book about it. It’s called Plot & Structure.

Gardner also wrote in various lengths. Successful self-publishing writers write short stories and novellasas well as full novels. Keep learning and growing as a writer. 

3. Treat it like a sacrifice

There’s an old saying about the law, that it is a “jealous mistress.” To be any good as a lawyer demands time and sacrifice. Gardner knew he had to be productive to make real money, so he set a quota for himself of 5,000 words a day. If he missed a day due to a trial or other legal matter, he would make up the difference on another day.

I am often asked what the single best piece of writing advice I ever got was, and I always say, Write to a quota. I write six days a week, and take Sundays off. It’s worked for me for over twenty years. Virtually no one can write 5,000 words a day like Gardner. And of course most writers have day jobs and family responsibilities. So the key is to figure out what you can produce and commit to doing that week in and week out.

This is my standard suggestion: Figure out what you can comfortably write per week, given your particular circumstances. It doesn’t matter the number, just find it. Then up that by 10% and divide into six days. Make that your goal. Keep a record on a spreadsheet that tracks your daily writing and turns it into weekly totals. It will give you confidence to see those numbers adding up throughout the year.

Be prepared to give some things up (TV is a jealous mistress, too) in order to find time to write.

4. Treat it like a mad passion

You’ve got to be a little nuts if you want to be a professional writer. In those early years, Gardner said, “I would work until one, one-thirty or two o’clock in the morning when I would be so dog-tired that I would stop to rest and would fall asleep in the chair and have nightmares, dreaming for the most part about the characters in the story, waking up a few seconds later all confused as to what was in the story and what had been in my dream. At that time I would go to bed. I would sleep for about three hours a night, waking up around five or five-thirty in the morning. Then I would take a shower, shave, pull up my typewriter and write until it came time to go to the office.”

Now, I don’t suggest a madness of that magnitude! I find it inspiring, but also know I could never keep a schedule like that (well, maybe if I was twenty-five and unmarried . . .) But dip your quill into Gardner’s passion and scribble some of it on your writing soul. And embrace the fact that you are part of a grand fellowship of the mad, the storytellers, the weavers of dreams.

5. Treat it like an adventure right up to the end

A favorite anecdote about Gardner, when he was selling some but not enough, occurred after he felt he finally “got it” about plotting. He sent a story to Black Mask with this note: “If you have any comments on it, put them on the back of a check.” Gardner knew he had reached a place of consistent sales, was in this for the long haul, and would never stop writing.

Do you know that about yourself? Are you in this thing to the finish? Make that decision now, and you have a chance to become successful self-publishing fiction.

Gardner completed his last Perry Mason novel, The Case of the Fabulous Fake, six months before his death. Cancer caught up with him. He was hospitalized a few times. But he kept working on a non-fiction book about crime. His editor at Morrow sent him a note suggesting he might want to slow down. Gardner sent one back: “You should know Gardner by now . . . when I get enthusiastic about something, I put the whole machinery into operation.”

Erle Stanley Gardner died on March 11, 1970. He had made some autobiographical notes before his death. The last words were these: “My life is filled with color and always has been. I want adventure. I want variety. I want something to look forward to . . . The one dividend we are sure of is the opportunity to have beautiful daydreams . . . . This is as it should be. This is the color of life. I love it.”

If you want to self-publish fiction, and make some money at it, do it the Gardner way. Love life, love writing, put your “whole machinery” into action, and never shut down the operation.

How Self-Publishing Has Changed the Industry

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by Clare Langley-Hawthorne

I read a recent blog post on The Guardian book blog about the 10 ways self-publishing has changed the book world and, after Jim’s post yesterday, it got me thinking about how I would explain the current state of the book world to friends and family who are neither authors, nor wanna-be writers, but who, as book readers, are nonetheless intrigued by all the changes going on in publishing. 

I’ve summarized the Guardian’s top 10 list below and am interested in whether or not you agree (though I do think most of them are pretty self-evident):

  1. There is now a wider understanding and increased visibility about what publishing is (and acceptance that it’s more difficult than it looks). Self-publishing has enabled people to learn the process and understand what is involved which has led to a wider awareness and diversity in the publishing process.
  2. We are no longer confident that publishers and agents know what everyone wants or should read. 
  3. The copy-editor is now in strong demand as writers realize the limitations of self-editing. Freelance copy-editors are now in high demand by both self-publishing authors and traditional publishing houses.
  4. The book as a ‘precious’ object is re-emerging as publishers produce limited, luxury editions.
  5. Authors are being empowered to do their own marketing and are no longer reliant on publishers to mediate the relationship between authors and their readers. Looking ahead, authors are likely to be less compliant with what their publishers demand of them.
  6. The role of the agent is also changing. With self-publishing, agents need to find new ways to make their work pay.
  7. New business models and opportunities are springing up offering ‘publishing services’ from manuscript and plot development to editorial and marketing assistance. Publishing is thus emerging as a process – accessible as a variety of different services – rather than an ‘industry’ as such.
  8. It’s not all about making money. Self-publishing means recognizing and preserving content that has value for someone but that doesn’t mean the process has to yield an income to be worthwhile.
  9. The end of the ‘vanity press’ put down. Self-publishing is now seen as the ‘homing ground of the instinctively proactive’ – those who can identify the market, meet its needs and deliver directly. 
  10. Self-publishing brings satisfaction and happiness in and of itself as each writer meets their own needs (which may only require a finished product or small sales to a niche market).

The most important element I take from this list is the notion that publishing is emerging as a range of processes, accessible to all, rather than an industry that so many viewed as an impenetrable fortress. I am also intrigued by the comment that authors will probably become less ‘compliant’ with the demands the publishers place on them, as they are empowered to understand their own market and reader needs (especially as authors now have many of  the tools [such as social media] to meet these needs directly).

Here at TKZ we have had a number of blog posts regarding the question of self-publishing, its challenges as well as its rewards. So what would you say is the number one way self-publishing has changed the book world?

Help! I’m Published and I Can’t Get Up!

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James Scott Bell
@jamesscottbell

Today’s post is brought to you by Self-Publishing Attack! Nine out of 10 doctors who self-publish recommend it to their patients who self-publish.

***

Over the past year I’ve heard from a number of writing friends, all of whom have been traditionally published. They are facing some harsh realities, like being dropped by their publisher. Or being unable to land another contract because their sales record follows them around like a bad smell. They are good, solid writers who made it into the Forbidden City. But the gendarmes have tossed them outside the gates without so much as a fare-thee-well.


These writers tremble now in the dark forest, wondering about the band of scofflaws who are self-publishing. It’s not something they thought they’d ever want to (or have to) do.

They always thought they’d have that comfortable room in the City, and maybe even get a place at the A List banquet table if things broke right.


But things haven’t broken right. And now they don’t know what to do. So here’s an amalgamation of the advice and encouragement I’ve been handing out:

1. Know Thyself

Are you a writer? Yes, that’s the first question. I mean the kind of writer who can’t not write. If you can do anything else and it improves your quality of life, by all means, do that thing instead. It reminds me of Lawrence Block’s counsel: If you think you want to write a novel take two aspirins, lie down in a dark room, and wait for the feeling to pass.

If you get out of that dark room and know you have to do this, no matter what, take further stock. What type of writer are you? I see four general categories:

Hands off

This is where the author gives everything, including most of the rights and income, over to a publishing house. It must be pointed out, however, that such contracts are increasingly rare, especially for midlist writers whose previous books did not sell. Indeed, several agents I’ve talked to recently say it’s easier to place a new writer than a midlister with poor numbers. And advances are down so low they are starting to feel like retreats. 

Yet many writers continue to pound on the gates of the Forbidden City because of the “prestige” factor. They also hold to the hope that they might make it to national and international bestseller status. If that’s you, just understand that the odds of moving from published to mega-bestselling is an Evel Knievel jump over the Snake River. So wear a helmet. 

Fingers in

There are new ops springing up in the digital world, where the author can contract with a company providing a menu of services. These companies are innovative and fast moving. You share the income, but in terms that are more favorable to the writer who takes the hands off approach. At the Writer’s Digest Conference last week in New York, I heard about one such company, Booktrope. There will be more, many more, down the road. Look over the terms each company offers, and see what other authors say about them. Keep track of the fakes and phonies by looking at Writer Beware every now and then. 

Hands on

This refers to the pure self-publishing writer, who knows writing is (and really always has been) a business. He puts writing as job #1, but places strategic planning as job #1a. He breaks down his publishing career into three parts: a) production (which includes short form and long form work); b) design; c) marketing. He puts in research up front to get his own freelance team in place and, once there, works a plan, works a plan, adjusts, works a plan, works a plan. And, as I say in Self-Publishing Attack, they repeat this over and over the rest of their lives.

More and more we are hearing about even New York Timesbestselling authors who have been crunched by current reality. The aforementioned Mr. Block, who once could find two shelves of his backlist at a Barnes & Noble store, now sees only three or four titles, one copy each. A few years ago he never would have thought he’d recommend a hands on approach, but that was then. In a recent blog post he writes:

“[M]y default response, when someone asks how to get an agent, or how to find a publisher, or any writerly version of what-do-I-do-now, is to suggest publishing it oneself. That’s a course I never would have recommended to anyone, except perhaps the occasional dotard who’d penned a memoir he hoped his grandchildren would read. And now I’m urging it upon everyone—writers whose publishers have dropped them, writers who never had publishers in the first place, writers whose early books have gone out of print.”

Arms around

This is the writer who embraces change and all the opportunities out there. He does not shun traditional publishing, for example, but is open to the right deal (and that means knowing publishing contracts and what terms to walk away from). This writer does not throw flames at bridges. Instead, he builds them—to readers, mostly, but on occasion to the industry, too.

So the very first thing, if you’re a writer who has “fallen,” is to know what type you are. Are you entrepreneurial or highly risk averse? Can you think like a business person, or does the thought of doing so give you the cold sweats?

Since I’m an “arms around” writer, I try to counsel those of the opposite disposition to at least try to know more, do more, take more responsibility for their own life and career. The days of Emily Dickinson are over. I liken the current climate more to the pulp writing days of the Great Depression. Those guys knew it was a business, and had to produce the work to eat.

Get busy, learn, and remember . . .

2. Don’t Give Up, Ever

You have the talent and the craft. That was proved when you signed with a publisher once upon a time. You can still write, so do it. Produce the words. Spend some part of your week, whatever you can spare after the writing is done, studying the new landscape and applying what you learn.

Finally, get rid of all expectations. Expectations are for chumps. The only thing you can control is the work you do today, and then tomorrow. If you are a writer, you write, even if you never sell another thing. But you will. As I told my workshop in NY, your Ficus tree will make something, if it follows the right plan. It may just be enough for a specialty drink at Starbucks (assuming your Ficus likes coffee). But it will be something, and something is better than nothing (I took high school math).

Get up and write, friend. You are not alone. And you are not down for the count. The future is bright for the writer who won’t give up.

How to make it to the Big Show

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“Do you know what the difference between hitting .250 and .300 is? That’s 25 hits…25 hits in 500 at bats is 50 points…okay? There’s 6 months in a season. That’s about 25 weeks, that means if you get just one extra flair a week, just one. A gork, you get a ground ball, you get a ground ball with eyes! You get a dying quail, just one more dying quail a week and you’re in Yankee Stadium.” 

— Crash Davis in “Bull Durham.”

By P.J. Parrish
I love Crash Davis. And I really love his great speech about that razor-thin line between the major and minor leagues. I was thinking about this speech the other day as I read our royalty statement from Amazon. 
Because for two weeks, we made it to the Big Show. We made it to number one on a Kindle bestseller list. We had 47,000 downloads in 48 hours. We made some really good scratch.
We did it with one book. One book that is 12 years old. A book that is now out of print. A gork, a flair, a ground ball with eyes.

So this is the story of our great Kindle experiment. It’s only one writer’s limited experience. But it has totally reshaped my thinking about my career and my place as a business person within it. Maybe you’ll find it instructive. Or maybe it will inspire you to try something different than what you are now doing. Because I believe that in this fast-shifting landscape, we writers — nay, storytellers — are the only things that can’t be replaced. In fact, this new publishing machine is going to have to be rebuilt around us.  We aren’t cogs anymore; we’re the engines.

A quick caveat: Five years ago, I was one of those folks who preached the gospel of Never Self Publish. It was the road to oblivion, the realm of the desperate. There was a special ring of hell reserved for writers who didn’t want to work hard or pay their dues. And five year ago, self-publishing WAS all that.

But ebooks have changed everything. Now major authors are buying back their ebook rights; mid-listers are finding new life for their abandoned backlist titles; newbies like Colleen Hoover are breaking into bestsellerdom; and everyone is reading the small print in their old contracts.

Five years ago, you were a fool if you self-published. Now, you’re a fool if you don’t.

Another caveat: I was really apprehensive about doing this. I had to be talked into it by two writer friends.(Take a bow Christine Kling and Sharon Potts.). I didn’t think it would work. Boy, was I wrong.

Here’s the background: Kelly and I have published twelve books with two traditional New York publishers.  Only our first two-book contract from 2001 has no mention of “electronic rights” so we decided to self-pub.

We chose our second book, “Dead of Winter” because it is far superior to our freshman effort. First rule of ebook self-publishing: DO NOT PUT OUT A “LESS-THAN” BOOK.

We decided to enroll it in Kindle Select. This means you can’t load it into any other reader formats like Nook and Kobo. Why did we do this? Because Kindle Select lets you give the book away if you want (More on that later) and the book is placed in the Kindle library, which means readers can borrow it instead of buying it. (More on that too)

Also, Kindle’s formatting is pretty easy to learn. Many authors pay others to do this but Kelly is tech-savvy and we mastered the learning curve quickly. Nook’s formatting program is a bitch. (More on that later).

Kelly designed our cover (below). You can’t legally use the original one your publisher created.

Then we wrote our “description.” This is like the back copy on your book and potential readers can click on it to find out what the book is about. It’s important that this be enticing; authors often go back and tweak this endlessly to get it right. Here is what we wrote:

Available for the first time in eBook! Read the thriller that launched the award-winning New York Times bestselling Louis Kincaid series.

In the quaint tourist town of Loon Lake, Mich., a killer is taking his vengeance. One by one, the bodies of cops are found, brutally executed, with mysteriously coded death cards placed with each corpse – the gruesome signature of a psychopath. And the only sound louder than doors being locked against evil is the sound of hearts beating in terrors. Louis Kincaid came north looking for refuge, a place to forget his past. But now he’s landed in the middle of an investigation that’s a terrifying journey through a town’s fiercely protected heart of darkness.

2001 Edgar Award Finalist
Praise for DEAD OF WINTER and PJ PARRISH
“Stylish blend of mystery, knife-edge tension and a complex hero readers care about.” – USAToday
“Tense, thrilling, and your manicurist’s best friend – you’re going to bite your nails.” – Lee Child
“Full of intrigue and edge-of-the-seat suspense.” – Michael Connelly
“The author’s ability to raise goose bumps puts her in the top rank of thriller writers.” – Publishers Weekly starred review

We priced it at $2.99, loaded it up, sat back and waited for the hordes to line up at our virtual door.

After 51 days, we had sold 128 copies. I’ll do the math for you: Even at Amazon’s 70% royalty rate, that means we made $267.90. Which means I made $133.95. (Remember, there’s two of us.)

Big whoop, huh?

We decided we didn’t like the way the cover looked in the Amazon store. It looked muddy and had no pop. (I wrote a KILL ZONE blog about bad ebook covers Jan 15; you can find it in KZ archives) We downloaded a new cover.

On day 52, we pulled the trigger on Amazon’s giveaway option. We gave our book away free for three days.

In the first forty-eight hours, we had 47,000 downloads. It shot to No. 1 in Amazon’s free bestseller store for all mysteries and thrillers.

After three days, we took it back to $2.99. In the first three days, it sold almost 3,000 copies. And here’s the gravy: It was “checked out” of the Amazon library almost 1,400 times. You get an extra royalty for that which averages $1.88 per download but has gone as high as $2.85 for us.

“Dead of Winter” rose to No. 15 on the PAID mystery/thriller bestseller list. It made it to No. 39 on the paid list for ALL Kindle books (that includes all fiction and non-fiction, classics, cookbooks and even the Bible). We — P.J. Parrish — suddenly appeared on Amazon’s Most Popular Author’s list. (I didn’t even know it existed).

We did no advertising. Nada. We announced it on Facebook and sent out a newsletter blast (But that goes to our fans who’ve already read it; we were trolling for new fish). The only thing we did was to take a day to contact blogger sites that are dedicated to giveaways. (There’s a whole cottage industry devoted to this. See Christine Kling’s FOR WRITERS website for advice on this. Nancy Cohen also listed some here at KZ in her February 13 post.)

The book continued to sell at the same fast rate through all of January and into February. Our borrows increased. Today, as I write this, the “glow” is over. (That’s what Christine calls that big sales bump after a giveaway). Sales are on a slow descent but even last week, the book sold an average of 112 books a day.

Other benefits I didn’t see coming: Our reviews for “Dead of Winter” went from 32 to 93, all from readers who said they had never read us before. The book was featured on dozens of blogs. And get this: We saw a bump in sales for our other ebooks (based on Amazon ranking). The ones put out by Pocket, priced at $7.99 moved up. But we saw a significant bump for the ebook that our other publisher priced at $4.08. That book, “An Unquiet Grave,” published 7 years ago, went from Amazon Siberia up to no. 7,057 and today is hanging on at No. 64 on the Private Eye Bestsellers list. Which illustrates, to me at least, the important of being able to price your ebooks right.

And I just found this out an hour ago: our new book HEART OF ICE (due out next week) has crept onto the bottom of the Amazon PI bestseller list at No. 97.

Now one word here about Nook et al.

While we were doing “Dead of Winter” we self-published CLAW BACK. Because it was an original novella, we wanted to make it available to all formats. We went to the Barnes & Noble author website to find out how to self-pub it. It was like trying to cut your way through a thicket with nail clippers. We bought the Scribners software to learn Nook formatting but were defeated by its intricacies. (You have to decide where your tech breaking point is).

We sent “Claw Back” to Smashwords, a formatting company. Smashwords also distributes your ebook to all the non-Kindle sites. A week went by and the book still wasn’t in the Nook store. We emailed; B&N said it was in the system. Two more weeks went by. Crickets. B&N just kept saying it would appear “soon.”

On Jan. 17, we pulled it and enrolled it in Kindle Select at $3.99. Sales were small. We dropped the price to $2.99 and it took off. Sales aren’t as great as “Dead of Winter” but they are steady. As I write this, “Claw Back” is No. 95 on the police procedural bestseller list. And we haven’t given it away yet because we want to time it as a “slingshot” prelude for our new book.

I’m not trying to bash B&N here. God knows I don’t want to see any bookstore die. But a report in Slate this week says that contrary to earlier reports, losses in the Nook division are going to grow this year rather than staying flat. They didn’t exactly make it easy for me as an author to reach my readers.

So what’s the take-away here?

I won’t turn my back on traditional publishing. I still want “tree” books in my readers hands, if that is the delivery method they prefer. But I want to reach as many readers as I can and I want to do in ways that are creative and flexible. So I will continue to self-publish.

Because you can hit a gork or a flair and make some good money. If you’re good and lucky you can even make enough to live on so you can write more. But maybe even more important, you get control. YOU decide when to put your book out there. YOU decide what the cover looks like. YOU decide what the price should be. And YOU decide exactly what direction your career is going to go.

Oh, there’s one more cool thing: You can actually make sense out of those Amazon royalty statements.

Is Traditional Publishing the Raging Bull of Industry?

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Jake LaMotta, the middleweight boxer who was the subject of the Martin Scorcese/Robert De Niro film, was known as the Raging Bull. He’d never stop coming at you, and he simply would not go down.
No matter what punishment was rained upon him (most savagely by Sugar Ray Robinson), Jake LaMotta refused to be knocked out.
Sort of like the traditional publishing industry.
I mean, look at the beating trad publishing has taken in the last few years:
BAM! The Kindle.

BOOM! Amazon offers authors 70%.

WHAM! Barry Eisler turns down half-a-mil from St. Martins.

SMACK! Department of Justice.

OOMPH! Borders goes under.

BOP! Barnes & Noble brick-and-mortar stores on the ropes.
Traditional publishing is reeling! Cut! Blood is on the canvas! The referee steps in to see if he should stop the fight. “How many fingers am I holding up?”
“You’re holding up big six fingers. No, five…”
The referee lets the fight continue. We’re in Round 6 of a scheduled 12 rounder. Will traditional publishing avoid the knockout?
That was the question on everyone’s mind at the Digital Book World Conference in NYC last week. Reports are that the publishing executives who attended were remarkably “upbeat” about the future, even as it remains an uncertain and challenging one.
According to a commissioned survey of 53 publishing executives, 85% of respondents were “optimistic” about the digital transition and 64% say publishers are “capable of competing” in the new digital marketplace. A 55% slice were confident that their own companies can compete. However, both of the latter two figures are down 10% from the same survey last year (source: Publishers Weekly). From the same PW story covering DBW, key executives “offered perspectives that ranged from an enthusiastic embrace of the new technology . . .to being a little bewildered over selling direct.”
Direct! That is one of the key areas where publishers must learn to compete. But according to Marcus Leaver of Quarto Group Publishing, “We sell directly to consumers, but I’m not sure we’re good at it or ever will be good at it.”
Former Macmillan president Brian Napack, now a senior advisor at Providence Equity Partners, was interviewed at DBW about trad publishing’s future. While admitting that the former “big six” may well end up as the “big three,” he believes “the power of innovation often flourishes in markets during periods of consolidation and new companies.”
That last prognosis is the one we’re all waiting to see show up. Traditional publishing is unsteady on its feet right now. It’s wiping blood from its eyes. But it’s not down for a ten count. 
What will it have to do to survive and, perhaps, thrive again? At the top of the list has to be substantive responses to the needs and concerns of their sole asset: writers.
Reports are mixed on whether, as a whole, trad publishing is getting that message. A surveyof 5,000 authors — aspiring, traditionally published, self-published and “hybrids” (those who are both traditionally published and putting out a self-publishing line) – reveals the following:
One-third of traditionally published authors are interested in self-publishing their next book. Writes DBW online: “This trend should be worrisome for traditional publishers, which are struggling to demonstrate to the marketplace that they add value to the publishing process in an era where anyone can publish a book.”
That’s the key: Add value. Where does that come from? It used to be via distribution to physical bookstores. But as shelf space dries up, how will that advantage compare to the digital platforms that writers are perfectly able to exploit on their own?
The survey did reveal a spot of good news for Jake LaMotta: Not yet published authors hold a high opinion of traditional publishing, showing the “prestige factor” still remains. Publishers can build on this. But it will require some significant changes in practice, as indicated by the responses of those who have been published traditionally:
While outsiders who probably have among them the next generation of best-selling authors believe that publishers can help them and have fairly high opinions of publishers, those who have experienced both publishers and the alternative have a very low opinion of publishers, by comparison.
Perhaps it is because those authors who have both self- and traditionally published are unreasonably bitter as a group by some slight they experienced at the hand of a publisher. Or perhaps they have made a reasoned comparison of what the publishing industry offered them and what self-publishing offered them and were more satisfied with the latter. Either way, it would suggest that traditional publishers could do more to woo and impress published authors.

The good news for publishers is that aspiring writers still believe in their ability to help them. It’s not too late for publishers to improve their services to authors to attract and retain the next generation of best-selling authors.
So will this Raging Bull of industry still be around in twenty years? I think so. I’d like it to be. I’m a hybrid, and traditional publishing’s been good to me. But it will have to fight smarter, not just harder. (One comment made by an editor at DBW shocked the binding out of me. He said at his company “there are 42 people who have to touch a book to get it published.” Unless he was kidding, or answering the ultimate question of Life, the Universe and Everything, that is not a recipe for fast feet and effective counter punching.)
So consider me sitting at ringside, shouting, “Cover up! Watch his left! Work the body! The body!”
What are you shouting to the traditional publishing industry?
Jake LaMotta, by the way, is 89 years old. And he’s still on his feet.


You CAN tell an eBook by its cover

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By P.J. Parrish

We really need to talk about bad eBook covers. We’re being inundated with them. It’s a tsunami of muddy colors, unreadable type and images that look like they were drawn by someone’s six-year-old kid.
Now, we’re all brilliant writers, that’s a given, right? But when it comes to eBook covers, few of us are graphic designers. This stuff is like a Mozart sonata to us. We know it’s good when we hear it but don’t ask us to sit down at the Steinway and try to play it.
Here’s the main point to take away here: Anything that reeks of amateur hour in your eBook will doom you. So yes, it pays to pay someone. But if you insist on designing your own cover, please do some research into what works. Troll through Amazon and look at the covers. Or CLICK HERE to see some really bad stuff. (Scroll down at least as far to my favorite “Lumberjack In Love.”)

If you hire someone, please don’t abdicate your power! Because YOU have final say on your cover and if your instincts say “it doesn’t quite work” go back to your artist and get a redo. I recently saw an author lament on a writer’s list that she “half-heartedly approved” her cover  because it “sort of conveyed the idea of the book and it was sort of okay.” She added it was too late before she noticed her name was so small and pale as to be unreadable. I looked at the cover. It’s clean, it’s professional looking, but it has no pop.

That author won’t get a second chance to make a good first impression.

I can hear you saying, “Huh, why should I listen to her?” Well, my professional resume on this is kinda thin. I’ve got a degree in art which included ad design classes, and I once made my living designing newspaper feature pages. And full disclaimer, my sister Kelly has a side business designing covers. But more important, I’ve studied this in preparation for our own eBook debuts. (Our backlist title DEAD OF WINTER came out last month and our novella CLAW BACK comes out this week. CLICK HERE to see them).

So here are my tips, with some sample covers I found at random on the Kindle site. First some general stuff.

KEEP IT SIMPLE BUT STRONG:  What works on a regular book cover usually doesn’t translate to eBook. One word: thumbnail. That’s the size your book comes up on most eBook lists. A paperback cover is about 64 square inches, a big canvas to display an image, title, author name and maybe a tagline and blurb. But an eBook cover is really just an icon, meant to be judged in the blink of an eye. So intricate detail, slender san-serif fonts, murky colors can put you at a disadvantage. Subtle isn’t always good in the Lilliputian world of e-bookstores. 

PICK A MOOD:  You need to convey the TONE of your book immediately. Is it amateur sleuth a la Elaine Viets or hardboiled realism a la Barry Eisler, or wacky stuff a la Tim Dorsey? Make sure the colors, illustrations and fonts work together to support the mood. Zoe Sharp tells us at a glance what kind of book she writes
I don’t think we’re going to confuse her with this author
While we’re at it, non-fiction should have a different feel than fiction. Here are covers my sister designed for an author who wrote two books about the Civil War.
You can tell at a glance which is the novel and which is non-fiction. And note the use of blue versus brown. The blue conveys an elegiac tone; the sepia brown historic. Now let’s talk specifics.
COLORS:  Bright, saturated colors catch the eye so stay away from anything muddy. Unless you’re Gillian Flynn (“Gone Girl”) you probably can’t get away with a plain black cover. Also be aware of the psychology of colors. Red and yellow convey action (Ad guys know the seductive power of bright yellow on black, and there’s a good reason traffic signs are yellow and red). Other colors elicit different emotions: Blue is calming and confident but can also convey sadness and can be effectively noir-y. Political correctness be damned, pink and baby blue are girly and work good on lighter books. Orange is quirky (it’s a favorite for cookbooks!) Green, for me personally, misfires on fiction covers because, like purple, it is emotionally ambiguous. Exception: I think acid green and other neons can work great for some crime novels. Harlan Coben’s covers went from this

 to this
thanks to a good cover designer. Coben became visually branded via his striking neon covers. You, too, need to think about branding with your eBook covers, especially if you have a series. Before we settled on our final covers, Kelly and I came up with these for our first two Louis Kincaid novels.
Note the uniformity of the type, mood, colors and use of landscape imagery. We jettisoned these because another author, CJ Lyons, used the exact same stock photo at left on one of her books. Try to stay away from all the cliche images that are showing up on eBooks now — like blood dripping from a woman’s eyes like tears and bloody hand-prints on windows. I mean, c’mon, you can do better.
FONTS: I have a thing for typefaces. I love them. Within their simple designs lie, well, fonts of emotion and you can almost feel the glee of their inventors. Look at how different these are:
THE KILL ZONE
THE KILL ZONE
THE KILL ZONE
THE KILL ZONE
THE KILL ZONE
THE KILL ZONE

Each conveys a different mood. Fonts are fun to play around with. But fonts are like sex. The more exotic it is, the more trouble you can get into. Go for READABILITY. Stay away from the cliche correlations because they tend to look like you’re trying to hard, in other words: amateur hour. Don’t use Comic Sans on a comic novel (don’t use it for anything…it’s ugly). Don’t use Lithos if your setting is a Greek Isle. Don’t fall back on Papyrus if you’re writing about Egypt. Don’t use Old English for a book set in 1800s London. (It’s not only a visual cliche it’s unreadable!) Remember: The three elements — color, graphic, type — must complement each other, not fight each other for attention.

Use a limited font palate. Yes, you can combine different typefaces on a cover, but be careful. Again, they must be readable and complementary. Here’s a good basic article on FONT SELECTION. And I realize that this is probably inside baseball, but it you don’t know about kerning, weight and how to align type, please hire someone who does.

GRAPHIC ELEMENT:  You can use either a photograph or an illustration but make sure it is quality. There’s are some great sites for buying stock art and photos, some free. I read recently that publishers are using more people on crime novels because research indicates character-driven books are selling better of late. So we are getting more of this

And less of this

But those examples also say something about TONE. Lisa Scottoline has moved away from her old lawyer series (Killer Smile) and now writes “family-in-jeopardy” crime novels.  Likewise, you must find the right image for your mood. Other stuff: Don’t use the artwork of a relative unless your relative is a professional. Don’t photo-shop too many elements in an effort to convey EVERYTHING about your plot. This works:

So does this:
I like the way this cover blends a powerful image with the type and a touch of color:
This is not bad but to me it just misses:
Why? The blended images don’t make sense and the cover is a tad hard to read. And you be the judge of this one:
Here’s one last example that sort of summarizes everything I’m talking about. Terri Reid is an eBook author with some real success. Here’s one of her eBooks:
 All her books have the same gray background and similar type faces. She uses trees as her signature image, which is a good idea because she’s writing a series. They’re serviceable covers. Would they be better if they could be “read” more easily at the e-bookstore? Would they stimulate you to try them if they “said” more about the content? (I had to go to her website to find out she wrote ghost stories; I thought this was psychological suspense.) Would a touch of color help “pop” the cover? I think so. Compare it to this similar “tree” cover:
But Terri Reid apparently sold 60K books through Amazon last year (CLICK HERE) so maybe I’m wrong.  Maybe you CAN break the rules and get away with it.
Which leads us to this cover. You might have seen it.

Why did it work? It shouldn’t. It’s gray. It’s sort of dull. The font is sort of just “there.” At first glance, you can’t tell that’s a guy’s tie.
But it worked because it broke the OLD rules and went against the cliche of the erotic novel.  Here’s Romance Times editor Audrey Goodman: “What may have tipped the scale for the ‘Fifty Shades’ trilogy are the nondescript covers. The classic ‘clinch’ covers on a lot of romance novels tend to carry a stigma of being ‘old-fashioned,’ so the covers on ‘Fifty Shades’ may have made the books more approachable for a larger range or readers.”
By the time the Grey eBook (originally published by Writers Coffee Shop) was bought by Doubleday, the cover had become iconic. Doubleday wisely kept it for the hardcover editions and it’s now it is being copied for other erotic novels.
Whew. We could do this all day and this went on longer than I planned. I’m exhausted. I need a cigarette. Was it good for you?

Will Immersive Reading Save Publishing and Kill the Traditional Novel?

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In the digital book world these days most of the talk is about whether the big publishers will survive, and what the relative merits (or demerits) of self-publishing are. But simmering in the background is another issue, one that could affect all fiction writers forever. And that is whether the simple reading experience itself is on the way out.
I’m talking about “immersive reading.” Recently PW reported on Apple’s iBooks Author development initiative. This is a program intended to produce multi-media and interactive reading experiences, primarily for tablet users and the educational market. But its reach is potentially far greater than that. As the story reports:
Since iBooks Author was released, hundreds of books created with the authoring tool are being sold through the iBookstore in a variety of categories, including travel, children’s, cooking, music instruction, gaming strategy, biography, entertainment and other categories. The books are coming from a variety of sources, including big six publishers, self-published authors, small publishers, app developers and TV networks.
Thus, publishers are using iBooks Author to create “an impressive selection of enhanced e-books with everything from photographs, sound, and animation to video footage.”
Meanwhile, Hachette announced it is committing to the EPUB3 format, which allows “greater flexibility in representing enhanced content, including interactive covers, embedded multimedia and interactivity, pop-up screens for end-notes, and melded audio and text, as well as improved navigation of reference content, creating a high-quality digital reading experience.”
A few thoughts here. First, this may be the salvation of the big publishing corporations. Why? Because they are the ones who have the resources to do immersive to the max. They will become like mini-studios, putting together multi-media experiences of all types. Or becoming a content partner with other media companies.
Second, this will be an increasing challenge for indie authors, who may have to become what Hollywood calls “hyphenates,” that is, producers who do more than one thing. Which requires skill sets most writers don’t have and don’t care to learn. They want to tell stories. They don’t want to have to shell out big bucks to get a hyper-enhanced “book” out there. But will they have a choice if they want to make new readers?
The cost of producing a book that can compete in an immersive world is daunting. A new start-up specializing in enhanced books, Orson & Co., is spending 20k on its first app! How can an indie author afford to do anything like that?
Which brings up the third, and perhaps most disquieting issue: what about the future of the plain old novel? As kids grow up fully immersed, will they have the patience for a simple black-on-white book anymore (Joe Hartlaub’s wonderful granddaughter notwithstanding)? Will future generations expect some kind of multi-layered sensory experience?
I was in Best Buy the other day and saw a four-year-old pounding away at an iPad, his little gaming soul oblivious to his mother telling him they had to go. Is this our future audience?
Think about it: how many live, black-and-white TV shows do you watch? We moved from B&W to color, from live to tape, from scripted to reality, from 2-D to 3-D. 
Once immersive reading becomes the norm, at home and in schools, will the very notion of what a book is be changed forever? Will the simple reading of ordinary text go to the elephants’ graveyard?
It’s like when I try to tell young people about great films of the past, and they say they just don’t like black-and-white movies that move so slow. Ahhhh!!!
The buggy whip industry did not disappear overnight. But certainly many a tanner looked at the sputtering fruit of Henry Ford’s assembly line and began to lament the passing of the old ways.
So, novelist and reading friends, I ask you: Will there be any such thing as the simple, traditional novel in fifty years? And if so, who besides the monthly book group at Leisure Village in Boca Raton will read it? 

Self Publishing And Original Voices

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One of the joys of mentoring and teaching at writers’ conferences is coming across that “thing” all agents and publishers say they want: a fresh voice. They saythat, but there’s always an unspoken undertone—they also want to be able to convince the marketing squad they can sell that voice.
So what to do with a voice like Cheri Williams? In the mentoring group I led at the Mount Hermon Christian Writers Conference some years ago, Cheri’s work stood out. It was quirky, laugh-out-loud funny, stylistically innovative and a bit (sometimes more than a bit) off-center. Cheri does not go for safety.
It’s that off-center thing that became a bit of a hindrance in Cheri’s seeking a publishing contract. Personally, I think several publishers missed the boat. I understand risk aversion in major industry, but there’s also something to be said for reaching out, taking a chance and perhaps snagging the next big thing.
Be that as it may, along came the digital revolution and self-publishing. All of a sudden, the highly original voice has a place to go.
So when Cheri decided to self-publish How to Castrate Your Man in 7 Simple Steps, I thought a little interview might be in order. I started by asking why she jumped on board the indie train.

“Why did I decide to self-publish? Um… have you read my title? Seen my cover?! Okay, okay. There’s a little more to it than that, but both are actually pretty big parts of the equation. I had this piece I’d written, ‘How to Castrate Your Man in 7 Simple Steps—No Pruning Shears Required.’ A must-read if there ever was one, right? The biggest Christian magazine thought so. They bought the article on the spot—then bumped it. I’d hand-selected the editor, knew there was no way any other publisher in the western hemisphere would touch it. In case you’re unaware, castration is not typically a Biblical tenet—until now muahahaha. That’s right, in less that 1300 words I prove it: it’s practically a biblical mandate.”
I paused for a drink of water and to wipe the sweat off my brow.
“Well, ‘Castrate’ kept resurfacing in my writing career. Buoyant little essay that it is, it kept popping up in conversations everywhere. Over time I realized how much it meant to me, how much I wanted it to mean something to others. I got to digging around on my hard drive and realized I’d written several more pieces that mattered. Other unpublishables like ‘How to Turn Your Woman into the Inflate-a-Mate of your Dreams’ and ‘Get Naked With God—Bring Your Own Soap.’”
I paused again, went outside for a breath of air, then continued the interview.
“My question soon became: Why not publish them myself? An aside: James Scott Bell is the world’s greatest writing teacher. But he’s more than that—he’s a true mentor (I’m also convinced that somewhere between acting and attorneying he did a cheerleading stint, but that’s another blog post). Around the same time I noodled the afore-mentioned question, Jim released Self-Publishing Attack! The 5 Absolutely Unbreakable Laws for Creating Steady Income Publishing Your Own Books. Imagine my delight when I read (my paraphrasing) start small, test the waters, you have nothing to lose and much to gain. The best marketing method? A kick-booty book.”
I slipped her a fiver for the kind words, but also mentioned that I have never in my life used the term kick-booty. Cheri said she would not hold that against me. I breathed a sigh of relief, having just seen her cover.

“Am I glad I decided to self-publish? Yes, I am. Have I abandoned traditional publication? No, I haven’t. I wrote pieces that didn’t fit neatly into any genre, wouldn’t sit sweetly in any publisher’s catalog. But they’re pieces that matter to me. Pieces I’m willing to work hard for. Pieces that keep me up nights perfecting them to the best of my ability (and those of everyone I know). I realized if I didn’t publish these essays myself, I’d never know if there’s a audience for them, an audience for this part of my heart. And I want to know—because there are a whole lot more Oddly Godly Epiphanies I’d love to inflict upon the world. Er… I mean… share. Self-publication was the right path for these pieces.”
Cheri also writes killer fiction for teens. “You know, the kind filled with love, lust, and lots of dead bodies. Those, I still believe, are better suited to traditional publishing. But who knows?”
No one knows, that’s who. No one knows what’s going to work in the trad world or the indie world. But for voices like Cheri’s there is now a way to find out.
“Bottom line: Was my book good enough? Would people think it’s funny? Moving? Matter to them like it matters to me? Make any difference at all? For a completely neurotic writer such as myself, those are tough questions to answer with a big fat Yes. In fact, the more I thought about it, the more I realized they can’t be. I couldn’t possibly know in advance if readers would take to my writing. But wait…Castrate had been critiqued by some of the best writers I knew, they said it’d brought on many a snort fest and even a few changed hearts. Once upon a time, it was bought by an uber-awesome editor! Were those things enough confirmation to take on the enormity of self-publishing? For me they were.”
For more on the oddly godly Cheri Williams, visit her website. And watch your back.
So do you agree? Isn’t self-publishing the greatest boon in history for the original voice? In fact, this is where publishers are going fishing for the “next big thing.” So why not stock the pond with your material?

Making Readers One at a Time

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The other day I strapped my AlphaSmart on my back and rode my bike to Starbucks to do a little writing. I set up at a table, got my brew, started tapping away. The place was crowded, all the other tables were taken.
Presently, a gray-haired woman appeared and said, “Mind if I share your table?”
 “Only if you behave yourself,” I said.
She smiled (a good sign for a wiseacre such as myself). I motioned for her to sit. She had a coffee and an e-reader.
“So is that a Nook or a Kindle?” I asked.
“Kindle,” she said.
“You like it?”
“Love it. I’ve been reading some indie books lately.”
This surprised me. The word “indie” is rather specialized nomenclature. She knew what was going on in the self-publishing world.
Ever the opportunist, I said, “I like that. I’m also publishing my own books.”
“Well,” she said, “I’m getting very annoyed at the bad editing I’m seeing.”
Boom! Not, “Oh really? You’re a writer? I’d love to read one of your books!”
No, I was getting the boom on behalf of sloppily edited books everywhere. I had a little work to do.
I asked her what sorts of things annoyed her, and she talked about not just typos, but the misuse of words. The basic mangling of the English language. At one point she said, “Dude, open the dictionary or thesaurus.”
I started liking her then. A gray-haired lady who uses the word Dude can’t be all bad. I decided to interview her as a resource on what readers are thinking. She was a fountain of information. Here are some of the things she told me:
She doesn’t like too much info on “tertiary characters” because “I don’t want to get invested in characters that don’t do more in the novel. I get disappointed if you don’t follow through with them. Frustrating. Or they show up again in the last few pages and I think, ‘Dude, where the hell have you been for the last 300 pages?’”
Regarding reviews: “One star reviews are usually trolls.” But also: “Very few authors come up to a five-star review. I never read five-star reviews, especially with exclamation points. You see five exclamation points and I think, Please!”She looks at reviewer history and what other books they liked and reviewed, before making a purchase.
I asked her how she found books. She said:
1. Amazon mailings
           
2. Looks at the “customers also bought” books Amazon suggests on a book page
3. Sampling. “I love the free sampling.”            
4 “If I find an author I like, I read everything he’s ever written.”
That last, BTW, is in line with other surveys. The two biggest ways readers find fiction are 1) word-of-mouth from trusted sources; and 2) looking for more from a favorite author.
On opening pages:
“The first couple of chapters need to set out the story arc. Not too much slam bang boom.Where is it set? Still need the gotcha, gee whiz, but I need a sense of the larger story arc, too.”
“I like wit. I mean say something intelligent, say things that grab my attention. In that first chapter if all they’re doing is grunting and shooting each other, nothing is telling me if any of those characters has anything upstairs worth reading about.”
On style:
“Style does matter. I just read a book with a good plot, good characters, great dialogue, but the narrative portions were just subject-verb, subject-verb. Boring. Hasn’t he heard of any other parts of the language? After awhile I was dragged out of the story, almost like he wrote two books.”
She asked me about my books, and I gave her a card. As we chatted she was thumbing her Kindle, and about a minute later was ready to order one. She asked which one she should start with, and I suggested Watch Your Back.
“Done,” she said.
“You bought it?”
“How could I not?”
It was a pleasant twenty minutes, and I’d made a sale. Now I can only hope that I’ve made a reader, the kind who puts me on that favored list of authors she has discovered and wants to read everything by.
And then keep working on the one thing I can control, the actual writing, making it the best I can do each time out.
Because that’s the only way you build a writing career, Dude. 

Enough already.

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by Michelle Gagnon

I feel like there’s been an increasingly acrimonious discourse lately on traditional vs. self-publishing, and frankly, I’m tired of it. I’m seeing it at conferences, online, and everywhere in between. Both camps are equally guilty here, in terms of snide comments and blatant put-downs. Those who are under contract with traditional publishing houses sniff at the fact that self-published authors skipped over hurdles to publish what they suspect (but rarely say publicly) must be drivel, or what one writer friend of mine referred to as a “tsunami of swill.”

In the other camp, the self-published authors extol the fantastic revenue returns they’re receiving, a far greater percentage than what they would have gotten from a standard publishing contract. They make lots of references to an archaic business model, implying that anyone who still partakes in it is a fool.

Enough already.

I don’t really care how someone is published, or how many books they sell, or how much money they’re making. But the overall nastiness that’s becoming commonplace is off-putting. The prevailing attitude used to be, “we’re all in this together” among writers, whereas now there’s a schism. And that’s a shame, because both models have their merits.

To those (like me) who are still publishing with the major houses: I’ve read wonderful novels in the past few years that failed to find a home. Sometimes the reason for that was clear–the book was aimed at a very niche market, one where publishers couldn’t envision making a profit. Other times, I was at a loss to know why a particular book didn’t sell. One was an amazing YA novel written by a friend of mine, who ended up self-pubbing on Wattpad. After reaching an extraordinary amount of downloads, she moved it to Amazon and started charging for it. And it’s doing well- IMHO, the publishers lost out on this one. 

To self-published authors: The traditional houses aren’t going anywhere. People frequently point to the music industry, which is a fantastic example. What they fail to take into account is that musicians still aren’t, by and large, self-producing music. Eighty-five percent of the music sold worldwide is still produced by the same music companies that were producing it a decade ago. Many of those companies have merged and/or consolidated, sure. But they’re still around, for the same reason that the big 6 will still be around in a decade. Like it or not (and I’m not, personally, a huge fan of this, but so be it), most of the houses are part of much larger conglomerates. And News Corp and CBS aren’t going anywhere; they’re also unlikely to shed an industry that still feeds into their film and TV franchises. So, no, people who still follow the old model aren’t going to be shoved out, by and large. The midlist might diminish further, but books will continue to be released by those companies well into the future.

There are pros and cons to each model. Self-published authors don’t have the benefit and protection of a contract, so if Amazon decides tomorrow to change those royalty rates, they’re well within their rights to do so. It’s also far more difficult to secure foreign and film/tv rights when you self-pub, and that tends to be the bread and butter of traditional authors.

Traditional authors, meanwhile, do lose out on some royalties that they could potentially be getting. They also have to wait months, and occasionally years, for a book to finally appear on shelves. And advances are not what they once were.

But there’s no right way and no wrong way. Write your book. Publish your book, however you prefer. But please, stop with the mud slinging. At the end of the day, we’re all still pursuing the same dream.