This week Kris Rusch is blogging about “discoverability” which she says is the new publishing industry buzzword. (And do read the whole thing, and bookmark her blog if you’re at all interested in publishing.)
The traditional publishers use this discoverability thing to lure new writers to their stables. “Come with us,” they say. “We’ll make you a star.”
We all know how that worked in the old movies, and let me tell you, it works pretty much for traditional publishing these days. As Kris puts it, doing a step by step analysis of the cost of advertising in various venues, and your chances of getting it if you’re a midlist writer and even if the traditional publishers are bringing you out in print, which isn’t always the case these days:
Sure, a publisher might spend that $1050 to advertise the latest book in a growing series, but that ad will be viewed by a few thousand readers instead of a couple million. (And that’s still one-fifth of that mid list advance.) Suddenly, the print/online ads seem less likely for a traditional published book, don’t they? Here’s something else to remember: It’s not that hard for an indie author to reach 6,000 readers, through Amazon or Good Reads or a dozen other venues, which traditional publishers badmouth or ignore. Then there’s the expectation side of advertising. Book publishers know that book ads are informational only. The ads do not increase sales at all. The publishers buy the ads to inform the consumer that a new book is out. The consumer must see references to that new book several times before the book ever makes an impact on a consumer’s consciousness.
Also, let me tell you unless you get an advance over 10k, you’re not likely to see even that much advertisement. Or even placement on shelves. In the good old days, when Amazon didn’t force the publishers’ hands, Sarah once had six books out in a year, with two major publishers without seeing a single copy on the shelves – ever.
Later on in the same article, Kris says that book reviews do matter, since they’re seen by booksellers. Which is why the smart indie publishers are now doing print titles and sending out review copies months in advance. They might not get on the shelves, but they have as good a chance as any.
What about the quality of self-published work? Oh, sure. We’ve seen some terrible stuff out there. But then we see some terrible stuff from the traditionals. [And don’t talk to me about the superior editing and copyediting of traditional publishing. As I bring out my books that reverted, I find I had to go over them line by line – and that the published version often introduced errors – I don’t want to go over them line by line, but I want to make sure my indie version is better than the “traditional” one– S.A.H.]
Also, later on in the article, Kris says that as far as electronic publishing only, you get no advantage from traditional publishing. This is probably right. So, if you choose to go indie, make sure you put a good product out and feel no regrets. Also, of course, send your book plugs here. We’re all about the discoverability. If you don’t go over and read Kris’ article, I leave you with this sentence, which blew me away:
That assumption was true, back in the olden days, y’know, about five years ago.
She’s right. It’s changing that fast. That means, whether you’re going indie or not, you need to stay alert, move fast, and the odds of success are all in your hands. I don’t know, guys. It sounds like we’re braving into a new frontier and the future is ours to forge. You got to like that about a future.
[Charlie here.] It’s a light week this week, largely because of a number of submissions that lack the necessities of making a book plug. That is, the TITLE, the AUTHOR’S NAME, the BLURB, and an AMAZON LINK.
Of the four, the AMAZON LINK is most important. We don’t have any arrangements with iTunes or Barnes and Noble yet. “It’s available on Amazon” is not an AMAZON LINK. A link to CreateSpace is not an AMAZON LINK, even though CreateSpace is owned by Amazon.
For more detailed guidelines, explaining the we need the TITLE, the AUTHOR’S NAME, the BLURB, and an AMAZON LINK, send an email to [email protected].
To submit a book to be plugged, send the TITLE, the AUTHOR’S NAME, the BLURB, and an AMAZON LINK to [email protected].
They gave up everything and now they have it all.
Follow them as they leave the working world behind and become carefree boat bums and beachcombers. Read how one couple got rid of all their belongings, quit their jobs, and moved onto a boat. This is a story of finding happiness in paradise through simplicity of life. It’s tales from tropical adventures. It’s a simple plan for financial freedom. It’s social commentary on the state of today’s society, sprinkled throughout with lyrics from the songs that inspired them.
Film blurs the line between myth and reality better than any other artistic medium, one could argue. Using movies to explore the unconscious realms of society in order to reach a better understanding of what drives it, this book examines filmmakers and films that center on schizophrenic themes of alienation, paranoia, breakdown, fantasy, dreams, dementia and violence, and that address–as entertainment–the schizophrenic experience. The loss of individual identity as reflected in the films is investigated, as well as the shamanic potential inherent in the broader theme.
The Port of Houston is the second-largest port in the United States as measured by cargo tonnage. It is also 50 miles from the sea. How did such an improbable location become such an important port? The answer lies at the intersection of geography and technology mixed with a bit of Texas brag.
Seasoned with 191 illustrations, The Port of Houston tells the story. Starting with a not-so-wide spot on Buffalo Bayou in 1836, it follows the growth of a minor river port into a shipping colossus. It is a tale worth exploring.