Category: from the archives

from the archives, Kelly Speaks, Marketing Your Self-Published Book, Uncategorized

From the Archives: “The Importance of Genre”

Welcome back to our Tuesday segment, where we’ll be revisiting some of our most popular posts from the last few years.  What’s stayed the same?  And what’s changed?  We’ll be updating you on the facts, and taking a new (and hopefully refreshing) angle on a few timeless classics of Self Publishing Advisor.

∗∗∗∗∗

[ Originally posted: March 27th, 2012 ]

The genre of your book is one of the most important decisions you will make when self-publishing. It will impact who buys and reads your book as well as how reads it.

The most important to thing to remember when choosing a genre is to not pick a genre too soon. Too often, authors set out thinking “I want to write children’s books” or “I want to write adult mystery novels,” but writing often takes on a life of its own and your book may not best fit in the genre you originally intended.

Once the book is finished, it is important to consider the audience you hope to reach. Are children your target audience? Are professionals in a certain field your audience, or do you want your book to appeal to a wide, general audience? A narrow genre can limit the readers who find your book. This is one of the few cases where general can be better.

Finally, think about how readers will find your book. Will they primarily search online, or will they visit a  bookstore? If your readers will be searching online, consider keywords when choosing a genre. This will ensure that your book shows up in the search results.

If you are still unsure about the genre of your book, talk to other writers and people who work in the publishing and book distribution industry. Visit your local bookstores to look at the titles in your genre and talk to the sales people. Seeing and hearing what other writers are doing and what readers are buying can help make this difficult decision easier.

– by Cheri Breeding

Genre is an important element of your book, before and during and after the publication process–but I must (politely) take a different tack from the one that Cheri Breeding took back in 2012.  In my personal (and somewhat expert) opinion, an author–particularly a self-publishing author–shouldn’t think about genre at all until after the manuscript is completely written.  I’m not saying that if you have a project underway you should intentionally scrub all thought of genre from your mind, but I am saying that your novel or book of poems or illustrated children’s book should be written the way it demands to be written, and those demands evolve over time as the characters and plot take on life of their own.  A book should not be written as a slave to notions of genre and all the expectations that go along with those notions.

genre book covers

The true importance of genre comes into play after the manuscript is written.  At that point, yes, you can take genre under consideration in reshaping whatever needs to be reshaped in order to reach masterful perfection–if you want, if that proves helpful to you–and you can take notes from the authors you admire whose works exert influence upon your source of inspiration.  But the best part is when the manuscript is done being a manuscript and has become a book you’re willing to send out into the world, because the best part happens when you start crafting something else entirely: your marketing strategy.

Genre is one of the most important discovery tools out there for authors of all stripes and colors.  In terms of importance, it’s right up there with personal recommendations and an attractive book cover–and even the most attractive of book covers doesn’t do much for sales if it doesn’t represent the tone and content of the book, giving hints and clues as to what the reader will find there.  And that’s … kind of the same wheelhouse as genre, isn’t it?   Genre is so fundamental to book discoverability that booksellers and watchdogs don’t just break down how many people buy books because of genre, but how many people buy books because of a highly specific genre–whether that’s science fiction, fantasy, romance, nonfiction, crime fiction, or any other of a number of genres available for discussion.

You can put genre to work in the marketing process first and foremost by ensuring that your marketing strategy lines up with your book’s genre–or genres.  Hybrid and cross-genre works are gaining ground in a crowded marketplace looking for fresh approaches to literature, so don’t be afraid to embrace the multi-dimensionality of your work–you just might have to use language that touches on the buzzwords of both categories in your promotional blog posts, tweets, and metadata.  And regardless of the genre of the book you’re publishing, you need to employ the language of genre in pretty much every scrap of promotion you put together.  Whether it’s in an on-air interview or in a press release or in the description you upload with your book trailer to YouTube, genre is your ally.  The more you talk about it, the more your book will turn up in the discussions–and indexed search results on Google and Bing–and that’s good news both for you and for your readers.

Never dismiss the importance of genre!  Just … don’t let your work be defined by it.  Your book enriches its genre, and informed the dimensions of what its genre or genres will be defined by in the future.

Thanks for reading.  If you have any other ideas, I’d love to hear them.  Drop me a line in the comments section below and I’ll respond as quickly as I can.  ♠

Kelly

ABOUT KELLY SCHUKNECHT: Kelly Schuknecht is the Executive Vice President of Outskirts Press. In addition to her contributions to the Outskirts Press blog at blog.outskirtspress.com, Kelly and a group of talented marketing experts offer book marketing services, support, and products to not only published Outskirts Press authors, but to all authors and professionals who are interested in marketing their books and/or careers. Learn more about Kelly on her blog, kellyschuknecht.com

 

Advocacy in Self-Publishing, from the archives, Kelly Speaks, Uncategorized

From the Archives: “Vanity Verses Self-Publishing”

Welcome back to our Tuesday segment, where we’ll be revisiting some of our most popular posts from the last few years.  What’s stayed the same?  And what’s changed?  We’ll be updating you on the facts, and taking a new (and hopefully refreshing) angle on a few timeless classics of Self Publishing Advisor.

∗∗∗∗∗

[ Originally posted: October 24th, 2008 ]

The self-publishing author community is becoming increasingly educated in options available, naturally comes in part as the by-product of approaching sound resources and asking good questions.

One question I do see stumbling around from time to time is some form of this, “Isn’t self-publishing the same as Vanity publishing?”

The answer: not really at all…

Vanity Presses often very dubiously attempt to present themselves as small presses, similar to ‘traditional’ publishers. They do this by claiming to be selective in terms of content. But those rejection rates are very low – generally reserved only for those manuscripts containing things like libel or pornography. But vanity presses do not otherwise screen for quality. They publish anyone who can pay, but don’t disclose that until well into the publishing process. Often, those fees are hidden in obscure production services unrelated to design, materials, or binding. That is where these operations ultimately make their money – charging authors book printing costs only to sell right back to authors.

The good news is that quality self-publishers are available with open, upfront, book production, distribution, and marketing options. And once books are professionally published copies are available where readers actually buy books. Unlimited printed copies are availabe for retailers and wholesalers on-demand, without additional out-of-pocket printing costs.

Keep writing.

– by Karl Schroeder

You may be wondering why today, of all days, I choose to return us to the argument over vanity presses vs. self-publishing, but if you glance back at yesterday’s news you’ll notice mention of Samita Sarkar’s July 28th Huffington Post article, in which she deconstructs Globe and Mail Books Editor Mark Medley’s mission to cast shade at the work of Canadian author Douglas Gardham earlier in the month.  Gardham, who made his mark by hand-selling books on long cross-country tours, symbolizes everything despicable and pitiable in the self-publishing world–according to Medley, that is.  Sarkar comes to Gardham’s defense, and in so doing works hard to redefine the boundaries between vanity presses and self-publishing (a distinction that Medley is more than happy to blur for the sake of an easy character smear).

Sarkar defines vanity presses and self-publishing narrowly:

There is a difference between publishing with a vanity press or so-called “self-publishing service” and true self-publishing. True self-publishing means being the owner of your own ISBN. Self-publishers register their ISBN under their own publishing imprint, or their own name. They hire independent editors and cover designers, and upload their manuscripts directly to bookseller websites, such as Amazon, Smashwords, and iTunes. Self-publishers maintain maximum creative control over their work, and receive much higher profits from sales.

Unlike true self-publishing, if the author uses a vanity press, the publisher will remain the owner of the book’s ISBN. The author will also have to pay hefty upfront fees for the book’s production, and to top it all off, authors will receive low royalty rates even though the publisher has not invested in the book whatsoever. This backwards business model is how vanity presses make their money. This is why vanity presses aren’t picky; so long as it’s not hate speech or pornography, anything goes.

Whereas traditional publishers pay authors for the rights to their book and consider the readers to be their customers, and self-published authors also consider the readers to be their customers, vanity press customers are authors, not readers. I have yet to meet an author that has turned a profit from publishing with a vanity press. There are very few exceptions.

And in many ways, I agree with Sarkar–if not exactly  in point, than in the general direction of her argument.  I still align with what Karl first wrote for us eight years ago–vanity presses are the realm of personal ego thinly disguised as corporate profit. Vanity presses give their authors a little, but take a lot–in terms of creative control and royalties, and that’s how you can recognize them.  And self-publishing companies take a little (usually a percentage of profits) while leaving the rest entirely to the author’s discretion.

Really, the most glaring mistake that Sarkar makes is the omission of hybrid publishing companies, a subject we’ve discussed before.  The lines are far more blurred even than Medley knows–but not between vanity presses, which are straight up scams that almost always trap authors in stasis.  The blurring is between self-publishing and hybrid publishing–and the distinction between these terms would be better described as a spectrum, with bare-bones self-publishing experiences like Amazon’s Kindle Direct Publishing at one end, and more fully fleshed-out hybrid publishing service providers like Outskirts Press at the other end.  (And OP just updated its website this week!)

You can easily tell the difference between a vanity press and a hybrid publishing company, as I mentioned, by the royalties and creative control.  With a hybrid publishing company like Outskirts, you own your ISBN and while you have the option of paying for cover design (if you’re not comfortable designing one yourself) you can just as easily choose to be your own designer and forego the cost.  This is how hybrid publishing companies work: you choose which services you need and pay for those, and you own whatever is produced by those paid services.  The object of Sarker’s dislike (vanity presses) is correct, but her reasoning (there’s no room for a middle-man in self-publishing) is an extreme position, if not downright incorrect.

Not every person has the time or the skills to create a beautifully produced, polished, designed, and edited masterpiece.  But that doesn’t mean that such a person has no story worth telling or self-publishing.  It just means they need a conscientious and ethical way of paying for the services they didn’t come built in with at birth, and they can find these services at a hybrid publishing company.

Thanks for reading.  If you have any other ideas, I’d love to hear them.  Drop me a line in the comments section below and I’ll respond as quickly as I can.  ♠

KellyABOUT KELLY SCHUKNECHT: Kelly Schuknecht is the Executive Vice President of Outskirts Press. In addition to her contributions to the Outskirts Press blog at blog.outskirtspress.com, Kelly and a group of talented marketing experts offer book marketing services, support, and products to not only published Outskirts Press authors, but to all authors and professionals who are interested in marketing their books and/or careers. Learn more about Kelly on her blog, kellyschuknecht.com.

from the archives, karl schroeder, Kelly Speaks, Uncategorized

From the Archives: “Self-publishing – Authors become the Gatekeepers”

Welcome back to our Tuesday segment, where we’ll be revisiting some of our most popular posts from the last few years.  What’s stayed the same?  And what’s changed?  We’ll be updating you on the facts, and taking a new (and hopefully refreshing) angle on a few timeless classics of Self Publishing Advisor.

∗∗∗∗∗

[ Originally posted: September 29th, 2009 ]

In a recent blog post, literary agent Nathan Bransford wrote of on-demand printing and distribution:

“No warehouses, no catalogs, no print runs. Online vendors, as we’ve seen, will sell anything. In this scenario, does the Author of the Future, especially one with a built-in audience, really need a publisher? Well… yes. Maybe.”

Bransford goes on to argue in favor of the author/publisher relationship, stating that the role of the publisher lies in the dirty work – copy editing, cover design, distribution, marketing, etc. We know that writing and publishing is often the easy part – the real execution comes in getting books effectively into the marketplace. That is where real self-publishing options stand out. Be prepared to pay for the services you and your publishing consultant determine best suited for your goals. In the long-run, you’ll thank your self. And so will the readers who have the privilege of enjoying your work.

Bransford: “But publishers would have to be extremely author-friendly — they would be providing a service, not relying on their traditional role as gatekeepers and distributors. Publishers won’t be able to rely, as they have traditionally, on the fact that authors need them in order to reach their audience, just as authors won’t be able to rely on publishers losing money on most of the books they publish.”

Keep your eyes and ears open. Self-publishing is on the way.

– by Karl Schroeder

Gatekeeping.  If you’ve spent much time around the literature of either traditional publishing or self-publishing, you’ll have heard the term “gatekeeping”–and often.  This is because it’s a big deal, regulating and potentially even censoring the works that others read for work and pleasure.

Publisher’s Weekly came to the phenomenon’s defense back in 2014 (“In Praise of Editors, Agents, and Every Other Gatekeeper in Publishing“), Self-Publishing Review called for it to stop just this last month (“Indie Author Gatekeeping Has To Stop“), while Porter Anderson of Thought Catalog and Hugh Howey of The Wayfinder both claim that self-publishing authors and companies alike have introduced new forms of gatekeeping to replace the old (“In Self-Publishing, The Gatekeepers Are Dead. Long Live The Gatekeepers!” and “Gatekeepers for Indie Publishing,” respectively).

And that’s just to list a few of the many, many, many hundreds of articles, blog posts, and other opinion as well as peer-reviewed pieces out there on the subject.  The furor over gatekeeping has far from died down since Karl first wrote his blog piece in 2009, some seven years ago.  If anything, the ferocity of debate has only been heightened by time, although some of the vim and vigor can no doubt be attributed to living during a politically charged time (on all issues, not just presidential) in which language has become a polarizing weapon (if it wasn’t already such before).  But there are other considerations too: the world of publishing, and the dynamic relationships between print and digital, traditional and hybrid and indie publishing, not to mention readers and authors via social media, has crossed a rubicon.

Several rubicons.

So, much has changed … except our ongoing concerns over what constitutes “rightful” or “allowable” control over what gets published and how, and who exerts that control.

Consider the fact that you, a self-publishing author, have a role to play in this drama.  You choose to publish, to believe your story is worth putting out there into the world, come what may.  (It is.)  You choose to hold your self-publishing company and awards panels and yes, even your readers, to a high standard of ethical behavior.  You fight for equal rights to publish, especially those who didn’t come to the table with the same resources or privileges as you.

Consider the fact that you, a reader, have an equally important role to play.  We’ve written in the distant past about controlling the market by controlling how and where you spend your hard-earned cash … and this is just a quick reminder that the market isn’t defined solely by top-down control from gatekeepers, or even by bottom-up grassroots gatekeeping.  It’s not really defined at all, but rather exists somewhere in the hazy tension between these two forces.

Karl’s 2009 post was accurate–to a point.  Self-publishing authors do control what they pursue publishing, at least.  But editors, publishers, and self-publishing companies exercise their right to reject or embrace those authors’ manuscripts, another obvious and visible kind of control.  And last but not least, readers control which authors (and publishers, and self-publishing companies) get a cut of their paychecks.  It’s a complicated relationship, and it’s not likely to streamline itself soon.

Thanks for reading.  If you have any other ideas, I’d love to hear them.  Drop me a line in the comments section below and I’ll respond as quickly as I can.  ♠

KellyABOUT KELLY SCHUKNECHT: Kelly Schuknecht is the Executive Vice President of Outskirts Press. In addition to her contributions to the Outskirts Press blog at blog.outskirtspress.com, Kelly and a group of talented marketing experts offer book marketing services, support, and products to not only published Outskirts Press authors, but to all authors and professionals who are interested in marketing their books and/or careers. Learn more about Kelly on her blog, kellyschuknecht.com.

Book Doctor, from the archives, Kelly Speaks, Uncategorized

From the Archives: “The Book Doctor talks ‘Copyright’ Protection”

Welcome back to our Tuesday segment, where we’ll be revisiting some of our most popular posts from the last few years.  What’s stayed the same?  And what’s changed?  We’ll be updating you on the facts, and taking a new (and hopefully refreshing) angle on a few timeless classics of Self Publishing Advisor.

∗∗∗∗∗

[ Originally posted: June 2nd, 2010 ]

Self-publishing affords author the advantage of 100% content and property rights control, which makes copyright protection an important element to consider when choosing your publisher. Bobbie the “Book Doctor” Christmas shares some helpful tips…

Q: When I send my manuscript to readers or agents, should I put the copyright c in a circle on the title page, on every page, or anywhere at all? Should a date be there also?

A: I tend to trust people and therefore do not put a copyright mark on my manuscripts, because the laws of copyright protect us—that is, we own the rights to all our intellectual property the moment we create it. Also, agents and publishers who see a copyright mark may think the person who sent the manuscript is un-knowledgeable or paranoid, because it is not necessary to officially register the copyright until the work is laid out and ready to be published in book form.

If, however, you feel more comfortable marking your manuscripts with a copyright mark, the traditional method for showing a copyright is to use the symbol c in a circle or write the word “Copyright.” Either form should then be followed by the year and your first and last name, all on one line. It should appear on the title page only, and because it is not standard to have a copyright mark on a manuscript, there is no standard for where on the title page to put it. I would probably put it two lines below the name of the author on the title page.

Do not, however, go to the trouble of registering the copyright with the government until the book is about to be published. The content will no doubt change between the time you write it and it gets published, so wait until the book is in its final form before paying to register the copyright.

– by Bobbie Christmas

I’ll be honest with you here:

After decades of working in the self-publishing industry–as an author myself and as an advocate for other authors–copyright is still hard.  And messy.  And confusing.  For Americans at least, it shouldn’t be–the basic principles of copyright were determined (and governed) by the United States Constitution and other international copyright agreements, and have therefore been around a while.  For the the most part, after all of my experience, I feel like I can muddle along on a day-to-day basis, repeating the basic definition to myself:

Copyright is a legal right created by the law of a country that grants the creator of an original work exclusive rights for its use and distribution. This is usually only for a limited time. The exclusive rights are not absolute but limited by limitations and exceptions to copyright law, including fair use. A major limitation on copyright is that copyright protects only the original expression of ideas, and not the underlying ideas themselves.

(Thanks, Wikipedia.)

The thing is, despite having a fairly solid understanding of what my own “original work” and “intellectual property” looks like, there are a swarm of details like the one Bobbie addresses above that end up being so complicated I can’t memorize all of the details.  And because copyright laws are serious–and I want to respect both my own work as well as the work of others–I want and even need to have full command of the necessary information to honor copyright requirements.

copyright

Which is why having the right resources on hand to turn to is important.  A good copyright resource, like the Owl at Purdue for grammar and academic writing requirements, will be detailed and thorough, easy to navigate, and always just one click away.  It really does take a load off when you’re in a pinch and need to know the answer right now.

When it comes to resources on copyright, I have a few recommendations:

  • Poets & Writers has a website dedicated to “Copyright Information for Writers” which strikes just the right balance between simplicity and responsiveness.  You have the option of starting a “Topic,” or essentially posting your own query to the P&W community for responses.
  • UW Copyright Connection may just be the most successful resource at breaking down the various complexities of copyright for authors looking to answer specific questions. The Connection looks and feels much like a Wiki–only it’s dedicated to authors, so there’s no need to skim through the white noise of irrelevant information to find the answers you need.
  • The Book Designer has a series of good posts about copyright, including one titled “Self-Publishing Basics: The Copyright Page” that specifically addresses, well, the copyright page.  It addresses Bobbie’s comments above, and then fills in some of the white space around them.
  • The Huffington Post is also getting into the copyright game by addressing the self-publishing author’s unique relationship with copyright.  Check out the article, “Legal Issues in Self-Publishing: What Authors Need to Know” for more information.
  • Wikipedia.  It’s less of a cop-out than you think, trust me, especially if you’re looking for the historical background to certain copyright restrictions.  Sometimes the why is buried in the how it came about, and knowing the reasons for a restriction often make it easier to live within. Wikipedia also has a page dedicated to Authors Rights.

Thanks for reading.  If you have any other ideas, I’d love to hear them.  Drop me a line in the comments section below and I’ll respond as quickly as I can.  ♠

KellyABOUT KELLY SCHUKNECHT: Kelly Schuknecht is the Executive Vice President of Outskirts Press. In addition to her contributions to the Outskirts Press blog at blog.outskirtspress.com, Kelly and a group of talented marketing experts offer book marketing services, support, and products to not only published Outskirts Press authors, but to all authors and professionals who are interested in marketing their books and/or careers. Learn more about Kelly on her blog, kellyschuknecht.com.

from the archives, Kelly Speaks, Self-Publishing, Uncategorized

From the Archives: “Self-Publishing: The New Black”

Welcome back to our Tuesday segment, where we’ll be revisiting some of our most popular posts from the last few years.  What’s stayed the same?  And what’s changed?  We’ll be updating you on the facts, and taking a new (and hopefully refreshing) angle on a few timeless classics of Self Publishing Advisor.

∗∗∗∗∗

[ Originally posted: January 28th, 2009 ]

Last Friday I happened to run into a new friend at a coffee shop down the street from my home. She also works in the publishing industry as a consultant, but more on the traditional model side. We enjoy running in to each other and talking shop.

This last run-in she mentioned a new author for which she’s providing ghostwriting and consulting services. Amy was evidently reserved in progressing with the project and I pressed for a bit more information. As it turned out, this particular author Amy was working with has a timely book topic on the table with a pressing eagerness to see it published; and with business savvy, the author wanted to see an attractive return on investment.

“Okay, what concerns do you have?” I asked. Amy first responded that shopping for an agent to pick up the book would push the timeline way back, and then between the agent’s and then the publisher’s cut, what could she reasonably expect to provide as an incentive to her author.

I couldn’t help but smirk. With self-publishing, authors retain exclusive control and full royalties, while having their books published in full-service style – start to finish – in around 12 weeks. Amy’s look was one of almost disbelief. When I mentioned all of these things along with the advantage of unlimited on-demand, international distribution offered by the best full-service self-publishing options she was noticeably, informed.

If you are an author, or publishing professional, revisit this question: What are your publishing goals? For many authors, the most important goals are:

1) Keeping 100% of your rights and creative control to your book
2) Keeping 100% of your author royalties
3) Setting your own retail price, profit, and author discount
4) Publishing a high-quality book that is available worldwide

I hope that helps. Keep writing…

– by Karl Schroeder

When we think of the expression “___ is the new black” in 2016, we envision something entirely different from what Karl intended back in 2009–thanks in large part to Jenji Kohan’s hit Netflix Original Series, Orange is the New Black, now four seasons strong on that video streaming website and renewed for at least another three.  The series, based on a memoir released in 2010, follows a seemingly unexceptional 30-something woman as she enters a woman’s penitentiary for a crime committed in her youth–but of course she’s not the point.  She’s the audience’s excuse to fall in love with all of her wild and wonderful fellow prisoners, learn their backstories, and so on.  And without the limitations of broadcast television, the show’s producers are more than a little on the nose with their depictions of sex, violence, and abuse.  All of this has made the show a worldwide phenomenon … and sidetracked the original reference implied by “___ is the new black” in much the same way that “Kleenex” has come to replace “tissue” as America’s word of choice, in the face of an overwhelmingly popular product.

But you’re not here for a long analysis of Orange is the New Black or even, it must be admitted, Kleenex.  You’re here because you want to know what has happened since 2009 to update our undestanding of self-publishing.  And the expression, not the show, is my avenue into that subject.

The expression “___ is the new black” traces its roots as far back as the end of WWII, and the tasteless few who managed to be flippant about wearing anything other than the standard-issue colors of economic depression and institutionalized grief–or in other words, anything other than black or a very dark grey.  According to Wikipedia (and other sources), the term was most often used in the 1980s, when mass consumer culture began to offer the average Westerner a glut of affordable options in fashion and home design.  When you can wear clear plastic shoes instead of black leather, you know you’ve crossed some sort of cultural Rubicon!

In titling his original post “Self Publishing: The New Black,” Karl was deliberately aligning self-publishing with these trends in order to demonstrate its rapid rise to viability as a competitor to the traditional publishing platform–a full year before the inspiration for Jenji Kohan’s television show was released into the world.  And he was right: like Kleenex, like Orange is the New Black, self-publishing has shot through the roof in terms of popularity.  And the similarities go farther: all of these things (Kleenex, OITNB, and self-publishing) have become household terms due to their popularity.  Almost everyone will know what you mean if you mention one of them.  As products of a capital market, they have staying power.

There are implications to the original usage of “___ is the new black” that I’d be more than willing to retire.  Namely, implications that the subject in question–self-publishing–is faddish and therefore will fall victim to the rapidly-changing dictates of popular fashion.  (And c’mon, we’re always going to need Kleenex.)  It’s not such a bad thing that the expression is now most often associated with an instant cult classic of a television show that shows no signs of losing its devoted audience … but even if it did, self-publishing isn’t going anywhere.  In fact, every round of data and statistics released by Digital Book World and other organizations tracking self-publishing indicates that indie publishing is here to stay!  There’s never been a better time to get on board.

Thanks for reading.  If you have any other ideas, I’d love to hear them.  Drop me a line in the comments section below and I’ll respond as quickly as I can.  ♠

KellyABOUT KELLY SCHUKNECHT: Kelly Schuknecht is the Executive Vice President of Outskirts Press. In addition to her contributions to the Outskirts Press blog at blog.outskirtspress.com, Kelly and a group of talented marketing experts offer book marketing services, support, and products to not only published Outskirts Press authors, but to all authors and professionals who are interested in marketing their books and/or careers. Learn more about Kelly on her blog, kellyschuknecht.com.