Category Archives: self-publishing

KICKING AND SCREAMING

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by Robert Gregory Browne

Today on TKZ we’re thrilled to host Robert Gregory Browne, whose latest novel TRIAL JUNKIES is an Amazon #1 Hot New Release.

I practically had to be pulled kicking and screaming into self-publishing.

I came into the book world through the traditional route and was conditioned to believe that the only way into the industry was to write a book, look for an agent, have that agent submit the manuscript and pray that a publisher accepted it.

Once I managed to get past that particular obstacle, I thought the only way to stay in the industry was to write the books my publisher wanted me to write and regularly meet my deadlines.

So when I heard that a few authors had decided to take advantage of the so-called Kindle revolution and start self-publishing ebooks, I thought they had completely lost their minds. Did they really think they could make a living selling books for three or four bucks on Amazon?

Surely they had to be nuts.

But an odd thing started to happen. Several of my friends who had decided to take the leap were actually starting to see their incomes rise. Not dramatically, but this was certainly proof that it was possible to, at least, supplement your income with self-publishing sales.

Yet, I remained on the fence. Not fully convinced that self-publishing was the way to go.

I’m not a particularly greedy guy, but I have to say that there was one piece of news I received from a friend that made me reconsider my position. She sent me an email saying, “I made thirty thousand dollars last month in ebook sales.”

Now, to a midlist writer—even one who has managed to do this job full-time and eke out a fairly good living—that was a number that couldn’t be ignored.

Thirty thousand dollars? Surely she was either fudging the truth or I hadn’t read the email correctly. And if she was making that kind of money, she had to be an anomaly.

Or did she?

I soon started to get reports from other self-publishing friends that they were making ten, twenty, thirty, even forty thousand dollars a month selling ebooks on Amazon.

How could this be possible? I wondered. If I were to self-publish a book would I ever manage to earn that kind of loot? Because, let’s face it, few people go into the authoring business to make money. We midlisters are used to modest advances and modest sales. And most are forced to do the job part-time because their royalties just aren’t high enough.

I went to my financial advisor and I said, “Can you believe that some of my friends are making thirty or forty thousand dollars a month through self-publishing?”

He immediately nodded his head and said, “Sure. What you’re seeing is the cut the publisher usually takes.”

Well, folks, greedy or not, I didn’t need much more convincing. I was already in the midst of writing a new book and decided somewhere around the third act that I needed to forego shopping it around and self-publish the sucker. That book was called TRIAL JUNKIES and I launched it about three weeks ago by offering it for free and giving away 46,000 copies.

And I’m happy to report that a few days after the giveaway, TRIAL JUNKIES hit the Top 100 in Kindle Books and became the #1 bestselling legal thriller on Amazon. As of this writing, it’s still there and I’m keeping my fingers (and toes and eyes) crossed that it sticks around for a while.

Over a period of a few months, I’ve gone from skeptic to firm believer. Not merely because of financial potential, but because I’ve never felt so in control of my own destiny.  I wrote the book that I wanted to write, on my own terms, and handled every aspect of its release from formatting to cover design. That’s the kind of control that no author gets in the traditional publishing world.

Will everyone who self-publishes be as lucky as I’ve been? Probably not. But the odds in the traditional publishing world are no better.

These are new, scary times we’re living in and I can’t yet say that I’m a success at self-publishing—only time will tell that.

But at this point I’m loving every second of it…


Robert Gregory Browne began his career by selling a two-part mystery story, NOTHING BUT THE COLD WIND, to EasyRiders magazine. After more than a decade as a screenwriter, Browne shifted his focus to his first love, novels, and wrote KISS HER GOODBYE, which recently served as the basis for a CBS Television series pilot, starring Dylan Walsh and Terry Kinney.


Rob’s subsequent books are the thrillers TRIAL JUNKIES, WHISPER IN THE DARK, KILL HER AGAIN, DOWN AMONG THE DEAD MEN and THE PARADISE PROPHECY (as Robert Browne).

An Indie Author’s Checklist – A Look Behind the Curtain of OZ (Post #1)

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This is post #1 in a blog post series that I hope you will find interesting—things that I have learned on my indie author journey. Since I’ve been fortunate enough to be published by HarperCollins and Harlequin Teen, I can see and appreciate the differences in what I will be doing as I self-publish. I’m discovering what my houses do behind the scenes for authors on the e-book front and realize that when I become an indie author, I will have to make choices on how to expand my distribution and retail visibility—ways my traditional publishers did for me without me knowing it.

My first recommendation for any indie author is to do your research on what’s involved. It’s not simply writing a story, editing it well, spending some coin to format and cover it, and uploading it onto Amazon and expect readers to find you. You first have to put out the best book you can, because quality will help you build a readership. Secondly, there is a business side that detracts from your writing time and you must be aware of how time consuming this can be. You won’t be able to load your book up and have readers flock to find you. It takes time to build a virtual shelf of quality work and expand your distribution. That’s why I wanted to share my experiences so you can research what will work for you and not spin your wheels, trying to gain traction.

This series of posts are intended to jumpstart your research, but for the purposes of discussion, I will lay out the decisions I had to make as I began. I’d spent time researching and building service provider contacts. I already had an infrastructure in place where I had an online presence, blogs, twitter accounts, Facebook pages, and many other sites that I have grown my online presence. A new indie author would not start where I did. They’d have to catch up and that takes time and money to set up your promotional foundation. This post is not intended to start from scratch. I’m sharing my experiences, starting from a spot where I already had insights into the industry. I hope what follows will help any author build on their expertise.

For me, the process started with me making decisions on which service to upload my books into after I’d done my initial due diligence into self-publishing. I knew I would upload to Amazon and B&N. They provide comprehensive systems that make the process easy and their reach encompasses most of the e-books being sold today. So realize that if you upload to Amazon Kindle and B&N Nook, you are probably reaching 60-70% of the digital books being sold. In a quickly changing world, however, the shift in technology could change this dynamic, but for now I’m comfortable with my digital offerings being on these two sites. For many established authors, who want to step foot into the indie world, this might be enough. But it’s not enough for an indie author with dreams of finding another way to make a living and who might be starting from scratch.

A traditional publisher uses its name to aggregate digital books to retailers and provides the latest offerings in a bundle. They support and build an infrastructure to get their books into as many viable venues as possible, to get books into the hands of today’s online readers. An indie author is on their own to figure out how to expand their reach and what to promote, but traditional houses have resources en masse with staff to support that effort. For an indie author to learn what works—and to grow what they know— they must navigate uncharted waters of Distributors and Retailers that are willing to allow self-published authors or small houses to have the same access as larger publishing houses.

I thought it would be interesting to break down what I’ve learned into five posts and create a future page of resource links on my FRINGE DWELLER blog for indie authors that I will maintain for myself and to share. My hope is to demystify the process of self-publishing so authors can make informed business decisions on how to get their work in the hands of readers directly. Ultimately, this will become a comprehensive “how to” book on author promotion that will cover various topics from branding and online presence, to press kits and resources, with practical tips on distribution. This indie process has educated me and will continue to do so.

But in doing this, I’m also realizing what my traditional houses have been doing for me and appreciate their efforts. I’m hoping to maintain a balance that works for me where I can still have projects through traditional publishers, but reap the benefits and gain experience with being an indie author for certain projects. Sustaining my online presence and growing my name recognition will hopefully be a benefit and a WIN-WIN for any house I work with as I self-publish. By expanding my reach, I can also give my agent more to represent.

Even authors who have no plans to self-publish can gain an appreciation for what goes on behind the scenes beyond your desk, your publisher, and your friendly retailer—because today’s readers have many ways to discover books outside the brick and mortar stores.

Here are the bullet point topics I will cover in this blog post series:

1.) Introduction (Post #1)

2.) E-Book Retailers – A Checklist Place to Start (Post #2)

3.) Distributors & Library Sales (Post #3)

4.) Retailers with Volume Restrictions or Limited Access (Post #4)

5.) Conclusions & Introduction to My Resource Page (including review sites receptive to indie author books by genre) (Post #5)

Please share your questions and topic suggestions that you hope I will cover so I can target the focus of my series. I’d appreciate your input.

In the mean time, I hope you will indulge me in a little blatant self-promotion for my first ever self-published offerings.

120429 One Authors Aha Moments - Jordan Dane - FinalONE AUTHOR’S AHA MOMENTS (92-page POD, e-book) is geared toward aspiring authors and has an emphasis on the Young Adult genre. These writing tips may also be helpful to experienced authors and those who write other genres. My advice comes from my personal experiences on writing fiction for adult and teen markets and what has worked for me. Topics include: Young Adult fiction themes, voice, and characteristics; how to create characters editors look for & give them a unique voice; plot structure that even a non-plotter can love; how to hook your book; the writer’s life, goal setting, editing, book promotion and more.


My first anthology of short stories—SEX, DEATH & MOIST TOWELETTES (e-book)—is now available. It’s a mix of stories from crime fiction noir to paranormal, with my brand of dark humor. As a teaser for anyone not familiar with my adult paranormal writing, I’m releasing DARK KISS (e-book) as a single short story from the anthology for a discounted price.

5 Things Every Author Needs to Understand About Self-Publishing

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@jamesscottbell

        
So now you are either self-publishing or thinking about self-publishing.
         Yes, welcome to the world of everybody.
         I have a question for you. Do you actually want to make some money at it?
         Here’s the good news: your ficus can make money self-publishing. Your cat, Jingles, can make money self-publishing.
         Of course, by money we are talking about enough scratch to buy some Bazooka at your local 7-Eleven. Or maybe a Venti White Chocolate Mocha at Starbucks. That’s not bad. It’s something.
         But if you want to make some real dime, and keep it coming, there are a few things you need to understand.
1. You are going into business
         The authors who are making significant money self-publishing operate with sound business principles. Which makes many other authors as nervous as Don Knotts.


         “I’m just not wired that way!” they’ll say. “I want to concentrate on my writing! I haven’t got the time or inclination to think about business decisions.”
         But guess what? Even if you have a traditional publishing contract, you’re going to have to give time and attention to business, namely marketing.
         What if you spent a little of that same time and effort learning the principles of successful self-publishing?
         Of course, a lot of authors now want to go right into digital. Well, don’t do it until you fully understand that it’s a business you’re going to be running. That business is you.
         Learn how. The basics are not that hard. In fact, I’ll have a book out soon that’ll help.
2. Your mileage will vary
No one can replicate another author’s record. Each author and body of work are unique. Innumerable factors play into the results, many of which are totally out of the control of the writer.
If you go into self-publishing expecting to do as well as author X, you’ll be setting yourself up for disappointment.
Instead, concentrate on being the best provider of content you can be. See # 5, below.   
3. This isn’t get rich quick
         In the “early days” of the ebook era, those who jumped in with both feet (Amanda Hocking, Joe Konrath, John Locke) and those who had loads of backlist (Bob Mayer) or caffeinated series ideas (Lee Goldberg) got some nice returns.
         Now, the future for the overwhelming majority of writers is about quality production, consistently and over time. A long time. Which is fine if you love to write. 
4. You can’t just repeat “buy my stuff” and expect to sell any of it
        
         We have left the age of sales and are now in the age of social. The way you market today is not by hard sell but by relationship. Even if you’re putting together sales copy, you have to think about how it offers value to the potential reader.
         What isn’t valuable is a string of tweets that are little more than “buy my stuff” or “please RT this” messages. Some authors think it’s a numbers game and repeating these messages will work over time.
         They won’t. They’ll annoy more people than they’ll attract.
5. It is first, and always, about the book
         I don’t care if you can out promote and out market anyone on the internet.
         I don’t care if you can afford to spend $100,000 to place ads for your books.
         If your book fails to catch on with readers or, worse, turns them off, you’re not going to do well over the long haul.
         Which is how it should be, after all. The quality of the writing itself should be the main thing in this whole crazy process.
         So you should concentrate a good chunk of your time, even more than you do on marketing, on a writing self-improvement program alongside your actual writing output.
         One of the reasons I’m conducting intense, two-day writing workshops this year is to take each and every writer who attends to that next level, where green is earned year after year.
          Now is the best time in history to be a writer. No question about it. The barriers to entry have been destroyed and opportunities to generate income have taken their place. But you have to think strategically. Mark Coker, CEO of Smashwords, puts it this way: “The biggest challenge faced by self-published authors, it’s not marketing, it’s not discoverability, it’s adopting the best practices of the very best publishers. It’s about becoming a professional publisher.”
       Of course, if you have trouble with that, you can always partner with your cat Jingles. 
Updates
We’re fast closing in on the Austin, TX 2 day fiction workshop, June 16-17. To get the special room rate, sign up with the hotel before June 1. Details here.
I’ve posted a new writing video on Agents. If you want to know what a pitch session feels like, tune in. 

I Am Going to Let the Readers Decide

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It’s being said all over the place that the new “gatekeepers” in publishing are the readers. Because of self-publishing, and new initiatives by traditional publishers to go direct to readers via revamped websites, that certainly seems to be the case.
So I have decided to put it to the test by letting readers decide if a new idea of mine will become a series.
About a year ago my son laughingly offered me an idea. He loves to make up titles and concepts, just for fun. “Hey Pop,” he said, “how about a thriller about a nun who is secretly a vigilante? She knows martial arts, and can kick butt when necessary?”
I looked at him quizzically, and then he gave me the (you’ll pardon the expression) kicker: “You can call it FORCE OF HABIT.”
I cracked up. So did he. But he stopped when I said, “I think I’ll do it.”
“I was only kidding,” he said.
“It’s a great concept,” I said. “Original, great title, and I think I can do something with it.”
What I did was start to write it. On the side, as I had traditional contracts to fulfill. But as I played with this story, I got pulled more and more into it.
My martial arts nun I named Sister Justicia Marie (or Sister J, as she’s known by those close to her). I thought up her backstory. She is a former child star who grew up into a drug-using actress who then hit bottom. That’s when she turned her life over to God and entered into the sacred life.
But during her time before the cameras, she studied martial arts (particularly for a Steven Seagal film she was in) and those skills have not left her.
And as I like to dig into themes in my books, I thought this raised a most intriguing question: could a devout nun actually justify violence if it was in the course of doing good, like stopping violent criminals?
When a cop asks her the same question, I heard her say this about the criminal element: “They are the knuckles. I am the ruler.”
I started adding a cast of characters. And then I thought of plotlines, and the idea of a series started to unfold. These would be in novelette form, around 15k words each. I think that’s a good pulp fiction value for the reading dollar.
I even went so far as to commission a talented young artist to do a series logo for me, a nun issuing a flying kick. And then the pitch:
When a nun is viciously attacked, Sister Justicia Marie takes it upon herself to find out what happened. The cops don’t like that. Neither does her Mother Superior at St. Cecelia’s school. But when a couple of hoods try to stick up a liquor store and Sister J brings them down, something is unleashed inside her, something that will either confirm her calling . . . or destroy it.
So now here it is. For KINDLE and NOOK, the first of the Rogue Nuns series featuring Sister Justicia Marie:

Here is my request: I’m asking you, the, readers to decide if the series will go on. By reading FORCE OF HABIT, and offering reviews, you will help me make the decision whether to continue.  
In this case, you are indeed the gatekeepers and the decision makers. So let me hear from you. Thanks!

Jockeying for Position in the Muddy Publishing Future

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James Scott Bell
Twitter.com/jamesscottbell



His father was a mudder. He loves the slop. Cosmo Kramer, Seinfeld



The future of the book industry got a little murkier this week. The Department of Justice, no less, thickened the soup with its announced intent to go after five of the “Big Six” publishers — plus Apple — on charges of collusion. The alleged nefariousness dates back to the wholesale versus agency controversy at Amazon.
Amazon was setting e-book prices lower than the big publishers desired. The pubs were afraid consumers would get used to lower prices, thus cutting into their margins. Also, there was major concern about undercutting a big cash cow for traditional publishing: hardcover frontlist titles. And, of course, they all worried about the future of brick-and-mortar stores as Amazon gobbled up more of the distribution pie. 

So Steve Jobs comes along (allegedly) with a plan to take major e-book business away from Amazon. With the iPad just getting fired up, Jobs (allegedly) went to the Big Six and proposed going into an e-book agency model agreement with them (Random House didn’t join the circle then, so is not part of the DOJ lawsuit). In return, the publishers would agree to keep their books off Amazon if it sold them at a lower price. In effect the five big publishers, as one, told Amazon You give us the agency model or you don’t get our books. 
The players, IOW, were jockeying for position with the future in mind. This is what big business does. It’s understandable and even desirable in a free market economy so long as the businesses are not running afoul of anti-trust laws.
Amazon, not happy with being forced into agency, decided to take on the publishing industry directly by mimicking it. So they went out and hired industry veteran Larry Kirshbaum to head up the effort. Amazon subsequently made some big name signings – Deepak Chopra and Barry Eisler, for example.
More jockeying.
And now comes a dark cloud dumping rain — the United States Gummint. The track is suddenly soaked and the mud is kicking up all over everybody.
Who is going to be the best mudder? Who is going to be left behind?
That remains to be seen. But right now it looks like agency pricing will be escorted off the track. If publishers are forced back into wholesale, Amazon will be sitting even prettier than it is now, prices will once again trend downward, and publishers’ margins will shrink. There will be renewed howls of “predatory pricing,” but the DOJ well knows that’s a much harder case to make. So Amazon goes back to selling at loss-leader prices which, in turn, will trickle down to brick-and-mortar stores where margins are razor thin anyway. More stores will probably close. Your local Barnes & Noble, for instance. There is a whole interlocking spiral here that is beyond the scope of this post.
My main interest is in what this all means for writers. For the last couple of years the self-publishing boom has been a net-gain for writers, especially those with a track record. And a backlist. But even new writers who haven’t been able to get inside the gates of the Forbidden City are seeing real money as independents.
But in gazing at the horizon in light of the DOJ’s action, some are saying that things don’t look so rosy. Here is what Mike Shatzkin, the Insightful One, has to say:
Over time, the biggest losers here will be the authors. The independent authors will feel the pain first. Agency pricing creates a zone of pricing they can occupy without much competition from branded merchandise. When the known authors are only available at $9.99 and up, the fledgling at $0.99-$2.99 looks very attractive and worth a try. Ending agency will have the “desired” effect of bringing all ebook prices down. As the big book prices are reduced, the ability of the unknowns to use price as a discovery tool will diminish as well. In the short run, it will be the independent authors who will pay the biggest price of all. But, in the long run, all authors will just get less. They will join the legion of suppliers beholden to a retailer whose mission is to deliver the lowest possible price to the consumer.

I am going to take issue with Mr. Shatzkin on his characterization of writers as the “biggest losers” in all this. Not so. This is simply another development in a long and ever changing contest. Writers who produce, consistently and well, will always have a shot at the rewards of a race well run. 
We didn’t create the Big Six or Amazon. But we will use them just like they use us. We will make strategic decisions, as they do. It’s called doing business,and writers are better positioned than ever to do it in creative ways.
So get on your horse, writer. Learn to ride in the mud. Don’t trust your fate to anybody else. You are responsible for your future, and you need to grab the reins and get into the thick of it.
For example, if you pursue a traditional contract, take a hand in negotiations. Learn what contract terms mean. Negotiate a way to produce non-competing works on your own dime. Don’t just blindly hand the reins of your very life and career to somebody else. Ever again.
Have courage. There is a lot of bumping going on in the turns. Don’t be timid. Bump back. Hang tough in the saddle. If somebody tries to hit you with his riding crop, take it from him.
While the overall effect may be greater challenges vis-à-vis “discoverability,” so what? Facing and overcoming obstacles has always been the lot of the writer. Nothing’s different now. You must produce quality, and a lot of it, for the rest of your life to have a writing career. You must add a long tail to your horse. If you do, you have a chance to cross the finish line and get pelted with flowers.
And why, as a writer, wouldn’t you do this anyway? We write. Even if some of the big publishers fall off their horses, we writers will still be in the race. Even if bookstore shelf space continues to dry up, we writers will still be coming at you.
Because we are creating stories, which is what people want and need in this crazy world. We are weaving dreams, getting under your skin, keeping you up at night, making you laugh and cry and maybe sometimes throw our books across the room. 
We are storytellers. 

And we are not going away no matter how hard it rains.

You Don’t Have to be a Star

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You don’t have to be a star, baby, to be in my show. – Marilyn McCoo and Billy Davis, Jr.
A couple of years ago my lovely wife and I were in New York and went to see Blithe Spirit on Broadway. We had only one reason to go, the best in fact: Angela Lansbury. She’s always been a fave of ours, and the chance to see her onstage (in, it turned out, her Tony Award winning role) was too much to pass up.
Sweetening the pot was that the male lead was Rupert Everett in his Broadway debut. It would be two “names” in a revival of  a famous play.
When the curtain was about to go up an announcer told us that Mr. Everett would not be going on that night. His understudy would play the part. There were a few sighs of disappointment. Cindy and I comforted ourselves with the knowledge that the divine Angela, at least, was still a go.
And she was stupendous. The production was a hoot.
And that understudy for Everett? He was brilliant.
So good that I looked him up on IMDB after the show. His name is Mark Capri.
Now, I was an actor for a time on the boards of the Big Apple, and appreciate a fine theatrical turn. Especially from a guy who the audience was initially disappointed to see (he won them over, however, and got huge applause at the end). So I wrote Mr. Capri a note to thank him for his performance.


I bring this up for writers because it illustrates a point. Mark Capri no doubt went into acting, as all Thespians do, hoping to become a star. He did what actors are supposed to do. He got training (at no less than the Royal Academy of Dramatic Art in London). He was accepted into the Royal Shakespeare Company and began his theatrical apprenticeship.
Over the years he’s played many roles in theatre (in a serendipitous touch, he made his New York debut with the same theatre company where I made mine, The Roundabout) and guest roles on TV.
In other words, he is a professional in every sense of the term. And when he was needed for that performance in Blithe Spirit, he came through as a consummate pro should.
We are, as we all know, in the midst of the self-publishing revolution. More and more indie authors are making good money, not because they are “stars,” but because they are professionals. The ones who think just tossing up mediocre material into the digi-system is going to make them rich are fooling themselves. I posted a brief clip about this on YouTube.
The ones who will make it will follow the same path as Mark Capri. They will train, they will get some good direction, they will write, they will keep writing. A miniscule number of them may even gain “star status,” whatever that’s going to look like in the future.
But I suspect the era of the superstar writer is coming to an end. The era of the solid professional is upon us. Those who learn how to do it all well (and I’m doing my part to help) will increasingly be able to realize the dream of doing something they love and making a living at it.
They will find their audience and please them with good performances, just like the one Mr. Capri delivered that warm July evening on Broadway. 

The Fine Art of Tooting Your Own Horn, and a Word About Covers

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James Scott Bell



Here at TKZ we sometimes joke about “shameless self-promotion.” We greatly appreciate the good rapport we have with our readers, and you all know we are not here just to plug our stuff. But you also understand that we’re working writers who blog, in part, so we can tell you about our new releases when they occur. 
Every writer has to do it. Publishers and agents demand it. If you’re self-publishing, you can’t survive without some form of social media and self-promotion.
Yet many authors feel uncomfortable tooting their own horns. Let me assuage that discomfort. 
Self-promotion need not be “shameless,” and indeed can be a benefit to all, if you remember one simple thing: the Law of Reciprocity. This law holds that when you offer something of value to another, they are much more likely to give something in return.
In social media, for example, the Law of Reciprocity is golden. Many an author makes the mistake of thinking social media is about marketing. In reality it’s about relationships. You build those slowly, through actual engagement, and not  by stringing together a bunch of posts that are little more than “buy my stuff” pleadings.
For a couple of years I’ve monitored some authors on Twitter who make a fundamental mistake. Thinking it’s just a “numbers game,” they hit the Twitterverse with thinly veiled sales pitches, over and over and over. Is that value?
Sometimes I see virtual begging. “Please RT this! Please!” But why would I do that if I don’t see any value in it? Why would I want to send that along to my own network?
I note that these methods have not helped their sales. (The books themselves probably have something to do with it, but I’ve not been interested enough to read one.)
On the other hand, some authors (Joseph Finder comes to mind) do it right, giving us interaction, interesting links, a laugh or two and so on. When he announces a new release, he’s earned trust. I’m happy to hear about it.
So think reciprocity. Give, and you will receive. Don’t just toot your own horn, make some music with it.
I’ll have multiple releases this year—traditional, self-published, short form. What I’d like to do here is turn those into occasions to offer something to writers. I’ll focus in on an aspect of the craft that went into the work, or maybe a bit of backstory about how a particular story sprang to life. Whatever seems apt.
Today, announcing the release of Book #2 in my Mallory Caine, Zombie-at-Law series (written as K. Bennett), I’d like to talk about covers. Take a look at this honey for The Year of Eating Dangerously:

Now that is one beautiful cover. This is what a traditional publishing house like Kensington has going for it—hugely talented designers who do this for a living. The tagline: More Demons, Less Filling, is also brilliant. A designer and a copywriter worked in tandem to produce this stunner.
It does what a cover should do: it feels like a visual representation of the tone of the book. That is not an easy thing to accomplish. And here I must say a word to all you self-publishers:
Do not skimp on your cover art! Spend money and hire someone who knows what they’re doing. In this digital age there is an expanding number of people who can design you a nice cover. Find them. Get recommendations. Look at their portfolios. Get a quote from them. And then do the following:
1. Give them an idea of how you want the cover to look. You do this by going on Amazon or Barnes & Noble and looking for covers in your genre. You collect a number of these that resonate with you and put them into a PDF to send them to your designer.
2. Provide the cover artist with a short squib about your book. Most of the time this should be the book description that you’ve written, just like a copywriter (another fine art I’ll talk about sometime).
3. Ask for a deal that includes at least a revision and a polish. You use the revision to clear up any misconceptions or things you don’t like. The polish is the fine tuning aspect. Try to negotiate this as part of the fee.
4. How much should you pay? There are artists all over the map, but generally between $200 – $400. I know about one poor fellow who spent $2,000 on a cover, which did not look worth it at all. Be very careful about assessing the worth of your artist.
5. If you have several books being readied, ask the cover designer for a package deal and a discount.
Now, there are some of you out there who have design talent, and know how to use photo and illustrator programs, who might want to Do-it-Yourself. If so, let me encourage you to put your cover through as rigorous a design process as you put your book through a revision process. Get feedback from people. Do two or three designs of your cover and have people select which one they like best.
Also: be sure your book cover has the dimensions of a physical book. It shouldn’t look square and squat like this:

And can you see another major mistake? Your cover should not have the word “by” in front of your name.
Instead, your cover should look like this:

So there you have it. Toot your own horn and add value doing so, and you’ll never be an unwelcome guest.

As for covers, if you’re traditionally published, how have you liked yours? How much input did your publisher give you?
If you’re self-published, what have you done to get good covers for your books? What did it cost you?

The Fine Art of Tooting Your Own Horn, and a Word About Covers

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James Scott Bell



Here at TKZ we sometimes joke about “shameless self-promotion.” We greatly appreciate the good rapport we have with our readers, and you all know we are not here just to plug our stuff. But you also understand that we’re working writers who blog, in part, so we can tell you about our new releases when they occur. 
Every writer has to do it. Publishers and agents demand it. If you’re self-publishing, you can’t survive without some form of social media and self-promotion.
Yet many authors feel uncomfortable tooting their own horns. Let me assuage that discomfort. 
Self-promotion need not be “shameless,” and indeed can be a benefit to all, if you remember one simple thing: the Law of Reciprocity. This law holds that when you offer something of value to another, they are much more likely to give something in return.
In social media, for example, the Law of Reciprocity is golden. Many an author makes the mistake of thinking social media is about marketing. In reality it’s about relationships. You build those slowly, through actual engagement, and not  by stringing together a bunch of posts that are little more than “buy my stuff” pleadings.
For a couple of years I’ve monitored some authors on Twitter who make a fundamental mistake. Thinking it’s just a “numbers game,” they hit the Twitterverse with thinly veiled sales pitches, over and over and over. Is that value?
Sometimes I see virtual begging. “Please RT this! Please!” But why would I do that if I don’t see any value in it? Why would I want to send that along to my own network?
I note that these methods have not helped their sales. (The books themselves probably have something to do with it, but I’ve not been interested enough to read one.)
On the other hand, some authors (Joseph Finder comes to mind) do it right, giving us interaction, interesting links, a laugh or two and so on. When he announces a new release, he’s earned trust. I’m happy to hear about it.
So think reciprocity. Give, and you will receive. Don’t just toot your own horn, make some music with it.
I’ll have multiple releases this year—traditional, self-published, short form. What I’d like to do here is turn those into occasions to offer something to writers. I’ll focus in on an aspect of the craft that went into the work, or maybe a bit of backstory about how a particular story sprang to life. Whatever seems apt.
Today, announcing the release of Book #2 in my Mallory Caine, Zombie-at-Law series (written as K. Bennett), I’d like to talk about covers. Take a look at this honey for The Year of Eating Dangerously:

Now that is one beautiful cover. This is what a traditional publishing house like Kensington has going for it—hugely talented designers who do this for a living. The tagline: More Demons, Less Filling, is also brilliant. A designer and a copywriter worked in tandem to produce this stunner.
It does what a cover should do: it feels like a visual representation of the tone of the book. That is not an easy thing to accomplish. And here I must say a word to all you self-publishers:
Do not skimp on your cover art! Spend money and hire someone who knows what they’re doing. In this digital age there is an expanding number of people who can design you a nice cover. Find them. Get recommendations. Look at their portfolios. Get a quote from them. And then do the following:
1. Give them an idea of how you want the cover to look. You do this by going on Amazon or Barnes & Noble and looking for covers in your genre. You collect a number of these that resonate with you and put them into a PDF to send them to your designer.
2. Provide the cover artist with a short squib about your book. Most of the time this should be the book description that you’ve written, just like a copywriter (another fine art I’ll talk about sometime).
3. Ask for a deal that includes at least a revision and a polish. You use the revision to clear up any misconceptions or things you don’t like. The polish is the fine tuning aspect. Try to negotiate this as part of the fee.
4. How much should you pay? There are artists all over the map, but generally between $200 – $400. I know about one poor fellow who spent $2,000 on a cover, which did not look worth it at all. Be very careful about assessing the worth of your artist.
5. If you have several books being readied, ask the cover designer for a package deal and a discount.
Now, there are some of you out there who have design talent, and know how to use photo and illustrator programs, who might want to Do-it-Yourself. If so, let me encourage you to put your cover through as rigorous a design process as you put your book through a revision process. Get feedback from people. Do two or three designs of your cover and have people select which one they like best.
Also: be sure your book cover has the dimensions of a physical book. It shouldn’t look square and squat like this:

And can you see another major mistake? Your cover should not have the word “by” in front of your name.
Instead, your cover should look like this:

So there you have it. Toot your own horn and add value doing so, and you’ll never be an unwelcome guest.

As for covers, if you’re traditionally published, how have you liked yours? How much input did your publisher give you?
If you’re self-published, what have you done to get good covers for your books? What did it cost you?

A New Definition of Writing Success

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“Rich are the records  . . . with stories of penniless authors, who, sick with hope so long deferred, and at last despairing, have resorted to wild and tragic devices . . .”
So begins a story in the Los Angeles Examiner,New Year’s Eve edition, December 31, 1905. The feature tells the tale of one such desperate author, a school teacher named Edith Allonby. For four years she’d labored on a novel, The Fulfilment [spelled with one “l”] into which she poured heart and soul. She had been published before, but her books had not been hits. The Fulfilment was going to change all that. In fact, Miss Allonby was certain its spiritual themes would change the world. (Indeed, she thought the book had been given to her by God, so the pressure was on).
But the book was rejected. First, by her own publisher. Then by all the other publishing houses she sent it to. “I have submitted my book to all these men,” she wrote in a note. “I have tried in vain. They will not accept it, yet shall ‘The Fulfilment’ reach the people to whom I appeal, for I have found another way.”
After finishing the note, Miss Allonby changed into a silk evening gown, put fresh flowers in her hair, and sat in a comfortable chair. She was found dead the next day, her manuscript on her lap and an empty bottle of carbolic acid at her side.

And so it has been for countless authors for hundreds of years. Not normally ending in suicide (though such cases exist) but often in frustration, depression and despair. (The Fulfilment, BTW, was published in a limited edition after Miss Allonby’s death).


There was one primary reason for all this distress: Their fate as writers was not in their own hands. To get anywhere close to “success” they had to be accepted by an established publishing house (which alone had the means to produce and distribute a book), and then hope that they earned some money for their efforts.
Those two things—acceptance and income—defined writing success. 
Included under “Getting Published,” we can list some ancillary things writers hope for. Like getting on a bestseller list. Perhaps being nominated (even winning) a prestigious award. Maybe just the feeling of being part of an exclusive club. 
But now we are experiencing a sea change on the other side of the diagram:

We all know the traditional model is shrinking. Advances on new contracts are at historic lows. With physical shelf-space disappearing, print revenues are down. While digital income is up for the publishers, the slice of that pie given to authors remains stagnated at 25% of net (or roughly 17.5% of retail). And new writers are finding publishers increasingly risk averse regarding debut authors.
Still, many writers remain focused on that left circle. It represents some sort of “validation” even though it could very well mean less income (the right circle) and fewer readers.
But now a new model of writing success has appeared. Writers, for the first time since the troubadour era (when you could go out on your own and make up stories in song and take in some coin), have it within their power to get their writing out there without a middleman (the fancy term is “disintermediation”).
And further, unlike self-published authors of yore, they actually have a chance to make real dough. Every day we are hearing more accounts of self-published writers who are earning significant income as independents.


Yet income alone is not the main draw of this new model, which looks like this:


Freedom is the invaluable commodity here. To be able to write what you truly want to write, and know that you can get it into the marketplace, is tremendously liberating. It is, in fact, the engine of happiness for a writer. It’s exhilarating to write for yourself, see what you’ve written, fix it, and keep on writing—and be assured that it will have a place in the stream of commerce, for as long as you live.


This does not mean that going the traditional route is a spurious view of “success.” If one seeks that validation, it’s there to be pursued. The point is, however, that it is no longer the only game in town. Which is why I am more jazzed about being a writer than ever. Not just because of increased production and income, but because of the freedom to take responsibility for my own work. 
Let me be quick to point out, however, that this responsibility carries challenges. Being in charge means you are CEO of your own company. You alone are in charge of quality control and production. You can expect to experience the stresses and strains of running a small business. You will need new skills to handle them. These can be acquired, but only through effort and self-discipline.
But it’s more than worth it to be holding the reins of your own writing and life. 
I think Miss Allonby would have felt that way, too. Had she been able to self-publish, she might have lived a long, full life. Maybe she’d have written many more books, grown a readership, and made some money, too.  


I can say this because, in one of life’s ironic and poignant turns, The Fulfilment by Edith Allonby is now available for the Kindle.
So how would you define success as a writer? 

A New Definition of Writing Success

Posted on by

“Rich are the records  . . . with stories of penniless authors, who, sick with hope so long deferred, and at last despairing, have resorted to wild and tragic devices . . .”
So begins a story in the Los Angeles Examiner,New Year’s Eve edition, December 31, 1905. The feature tells the tale of one such desperate author, a school teacher named Edith Allonby. For four years she’d labored on a novel, The Fulfilment [spelled with one “l”] into which she poured heart and soul. She had been published before, but her books had not been hits. The Fulfilment was going to change all that. In fact, Miss Allonby was certain its spiritual themes would change the world. (Indeed, she thought the book had been given to her by God, so the pressure was on).
But the book was rejected. First, by her own publisher. Then by all the other publishing houses she sent it to. “I have submitted my book to all these men,” she wrote in a note. “I have tried in vain. They will not accept it, yet shall ‘The Fulfilment’ reach the people to whom I appeal, for I have found another way.”
After finishing the note, Miss Allonby changed into a silk evening gown, put fresh flowers in her hair, and sat in a comfortable chair. She was found dead the next day, her manuscript on her lap and an empty bottle of carbolic acid at her side.

And so it has been for countless authors for hundreds of years. Not normally ending in suicide (though such cases exist) but often in frustration, depression and despair. (The Fulfilment, BTW, was published in a limited edition after Miss Allonby’s death).


There was one primary reason for all this distress: Their fate as writers was not in their own hands. To get anywhere close to “success” they had to be accepted by an established publishing house (which alone had the means to produce and distribute a book), and then hope that they earned some money for their efforts.
Those two things—acceptance and income—defined writing success. 
Included under “Getting Published,” we can list some ancillary things writers hope for. Like getting on a bestseller list. Perhaps being nominated (even winning) a prestigious award. Maybe just the feeling of being part of an exclusive club. 
But now we are experiencing a sea change on the other side of the diagram:

We all know the traditional model is shrinking. Advances on new contracts are at historic lows. With physical shelf-space disappearing, print revenues are down. While digital income is up for the publishers, the slice of that pie given to authors remains stagnated at 25% of net (or roughly 17.5% of retail). And new writers are finding publishers increasingly risk averse regarding debut authors.
Still, many writers remain focused on that left circle. It represents some sort of “validation” even though it could very well mean less income (the right circle) and fewer readers.
But now a new model of writing success has appeared. Writers, for the first time since the troubadour era (when you could go out on your own and make up stories in song and take in some coin), have it within their power to get their writing out there without a middleman (the fancy term is “disintermediation”).
And further, unlike self-published authors of yore, they actually have a chance to make real dough. Every day we are hearing more accounts of self-published writers who are earning significant income as independents.


Yet income alone is not the main draw of this new model, which looks like this:


Freedom is the invaluable commodity here. To be able to write what you truly want to write, and know that you can get it into the marketplace, is tremendously liberating. It is, in fact, the engine of happiness for a writer. It’s exhilarating to write for yourself, see what you’ve written, fix it, and keep on writing—and be assured that it will have a place in the stream of commerce, for as long as you live.


This does not mean that going the traditional route is a spurious view of “success.” If one seeks that validation, it’s there to be pursued. The point is, however, that it is no longer the only game in town. Which is why I am more jazzed about being a writer than ever. Not just because of increased production and income, but because of the freedom to take responsibility for my own work. 
Let me be quick to point out, however, that this responsibility carries challenges. Being in charge means you are CEO of your own company. You alone are in charge of quality control and production. You can expect to experience the stresses and strains of running a small business. You will need new skills to handle them. These can be acquired, but only through effort and self-discipline.
But it’s more than worth it to be holding the reins of your own writing and life. 
I think Miss Allonby would have felt that way, too. Had she been able to self-publish, she might have lived a long, full life. Maybe she’d have written many more books, grown a readership, and made some money, too.  


I can say this because, in one of life’s ironic and poignant turns, The Fulfilment by Edith Allonby is now available for the Kindle.
So how would you define success as a writer?