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Self-Publishing News: 3.14.2016

This week in the world of self-publishing:

Publishers Petition White House to End Cuba Book Embargo

It’s not often that self-publishing makes a mark on a major East Coast newspaper, especially one known for covering international politics and economic affairs, but this week self-publishing is the byword everywhere, including this March 10 article by Jeffrey Trachtenberg and Felicia Schwartz that appeared in the Wall Street Journal. Why the big fuss? Well: “Three major U.S. book publishers, several trade groups and others in the publishing industry have signed a petition urging the White House and Congress to end the Cuba trade embargo for books and educational materials.” So far you might be forgiven for thinking that the Big Five were the driving force behind this petition, but bear with me for a minute. “The petition,” write Trachtenberg and Schwartz, “argues that the embargo ‘runs counter to American ideals of free expression’ and lifting it would be ‘consistent with the will of the American people.'” This, of course, is fully in line with the independent streak so fiercely guarded by the anti-gatekeeping indie publishing movement, and as it turns out, self-publishing authors have come out in force to support the petition.

While only WSJ subscribers can read the full article, the story has been picked up by a variety of other news outlets, including the Huffington Post, specifically this HuffPost Books article by Mark Coker, the founder of SmashWords––a distributer of independently published ebooks––and a driving force behind the petition. As he earlier wrote on the SmashWords blog, Coker says the petition was inspired by a visit to Cuba, where he discovered that “it’s extraordinarily expensive and difficult for Cuban publishers to gain access to even the simplest raw materials of bookmaking, such as paper and ink. And for self-published authors, even if they had access to self-publishing services or book printers, the set-up fees of such print services would be prohibitively expensive.” Says Coker, “Cuba has an adult literacy rate that is nearly 100%. Compare that to the the US where adult literacy is only about 80%. Cuba has a rich literary heritage. They value books.” To deliberately quash literary entrepreneurship in Cuba is to suppress a priceless literary heritage––as well as future potential. To read more about the petition, you can visit the WSJ article here, the HuffPost Books article here, the SmashWords blog here, and the corresponding public White House petition here.

The New Indie and the Self-Publishing Revolution

“Independent publishing doesn’t mean what it used to,” writes Brooke Warner in this March 11 for Publisher’s Weekly. She goes on to explain that today, “when people talk about ‘indie’ authors, they’re talking not about authors published on small presses but about a thriving movement of self-published authors who are green-lighting their own work and riding the wave of a movement that’s far from peaking.” This movement is so distinct, she argues, that it well deserves the title of “revolution”! “Self-published authors have been working for years to improve their own standards, and the results are impressive,” writes Warner, who publishes via She Writes Press and SparkPress, is president of Warner Coaching Inc., as well as an independently published author herself. As such, she’s perfectly positioned to declare with authority: “If the past 16 years are any indicator of what’s to come, we better hold on. We’re in the middle of a sea change, and indie authors and publishers are not only forging new territory, they’re leading the way.” For the rest of her piece, visit the original article here.

Here is the Full Author Earnings Report from DBW 2016

You might have heard the name “Data Guy” floating around during conversations about the digital book market, particularly in the context of Author Earnings, an annual report and nonprofit organization run by said Data Guy. Well, in this March 13th article by Michael Kozlowski for the Good e-Reader, Kozlowski records the keynote presentation to the 2016 Digital Book World conference as given by the heretofore anonymous Data Guy, including screenshots of each slide. (You can also view the original presentation on the Author Earnings webpage.) Aside from some necessary boilerplate material and a couple of unabashed slides dedicated to justifying the work done by AE, Data Guy spent the vast majority of the presentation focusing on how the current market statistics on ebook sales as given by Amazon and other retailers skew indie authors’ expectations and, possibly, undercuts their ability to contextualize their experiences within the framework of a larger, more realistic, picture. As it turns out, the shift from print to digital poses a significant challenge to data collection, given that sales have largely shifted from the Big Five traditional publishing houses to a new monopoly held by Amazon, Barnes & Noble, the Apple Store, and Kobo … or so they would have us think. As it turns out, a large proportion of ebook sales and distribution is now happening independently of these sites, and these sites are famous for underreporting relevant information to begin with. Data Guy demonstrated how greater transparency and advocacy can do a world of good for indie authors, and I highly recommend reading his full keynote at the link!

Major publishers’ e-book sales stagnate as overall market grows

As a counterpoint to certain points made by Data Guy in his keynote presentation as reported above, Ángel González of the Seattle Times reports in this March 9th article that “Sales of e-books from major publishers have waned since 2014, the year in which many of them gained the right to price their digital titles sold through Amazon—and jacked up prices.” Says González, “Those moves suddenly made books printed on dead trees a better deal. But that doesn’t mean the e-book market is stagnant. Far from it.” As González goes on to say, many of the Big Five traditional publishers are publishing their quarterly sales figures along with announcements that they are seeing a drop in digital sales after Amazon and Hachette resolved their price-fixing dispute last year, and as a result print sales are up. The general consensus seems to be that if you can buy a book in physical form off of a bookstore shelf for roughly the same price as purchasing an ebook online, why not cave to the superior attractions of a full bookshelf over a full iPad? And while many indie authors do sell their books in multiple formats, including print, many focus their efforts on the digital market for obvious reasons of economy of launch funds and ease of distribution. In short, these sales figures have great significance for many indie authors. Somewhere between the Data Guy’s optimistic keynote and González’s report on the dire predictions out of the traditional sector, we must be able to find a balance.

As a self-publishing author, you may find it helpful to stay up-to-date on the trends and news related to the self-publishing industry.This will help you make informed decisions before, during and after the self-publishing process, which will lead to a greater self-publishing experience. To help you stay current on self-publishing topics, simply visit our blog every Monday to find out the hottest news. If you have other big news to share, please comment below.

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.

Kelly Speaks, news from the self publishing world, self publishing news, Uncategorized

Self-Publishing News: 3.7.2016

This week in the world of self-publishing:

Top 3 Amazon Alternatives for Kindle Writers

“Not happy with your Amazon royalties? Not thrilled with Amazon’s latest strategy to pay self-published borrowed books is a pool based on pages read?” asks Liesha Petrovich for HuffPost Business on March 3rd. Answers Petrovich: “You’re not alone.” And indeed, as she points out in her article, a number of high-profile as well as mainstream self-publishing authors are growing dissatisfied with Amazon’s offerings, services, and standard of treatment for its customers––readers and writers alike. And just because Amazon may appear to have a stranglehold on the indie publishing marketplace doesn’t mean that it’s the only option available; as Petrovich writes, “If you’re a current or future writer, with dreams of making a living writing, Amazon isn’t the only path to self-published success.” Her suggestions are threefold, and they don’t rely on switching companies––such as leapfrogging from Amazon to Kobo, or some other platform––but rather upon changing the sales paradigm altogether. Her recommendations are to:

Sell from your own site
Sell on other platforms (such as the Apple store, or through B&N), and
Create your own path to publishing success.

“You’re not limited,” says Petrovich, “and you may have to try a few [options] before you find the results you’re looking for. Just remember you choose to go independent for a reason, and not to increase Amazon’s profits.” Amen to that. For the rest of Petrovich’s article, follow the link!

13 Self Published Books You Won’t Find At A Book Store, But Need To Read

Says Meg Kehoe of the Romper in another article from March 3rd, “The amazing range that self-published books provide can be hard to navigate, but thanks to sites like Indie Reader and Goodreads, the world of books becomes slightly less daunting.” Kehoe herself is a handy resource for readers looking to break into the world of ebooks but find themselves without a map or compass. Her list of books you can’t afford to miss includes Jabberwocky by Theodore Singer (CreateSpace)––with obvious ties to Lewis Carroll’s Alice in Wonderland series, just in time for a new movie coming out this summer––and Jack Hammond Junior’s The Last Hanging in Scots Bend (Lujack Press), Nina Ansary’s Jewels for Allah (Revela Press), and Russell Newell’s The Boy and the Bastard (Dog Ear). I don’t know about you, but after perusing Kehoe’s list and reading her summaries of each, I definitely feel like cracking open a few new ebook covers (figuratively, at least) this next week! You can view the entire list here.

The teen author bandwagon

Sometimes, it’s nice to hear from the very demographic we write so much about here on Self Publishing Advisor, and in his March 2nd column for The Beacon, the official (online and print) student newspaper of the Massachusetts College of Liberal Arts, Mitch Chapman speaks up for teen authors everywhere––and what he has to say may come as a surprise, in that he asks for us to stop defining teen authors as “teen authors” and instead define them simply by what they do (write) and how well they do it. Says Chapman, “even before the rise of self-publishing platforms such as CreateSpace and Lulu, there has been an unusual fixation towards teenage authors that sometimes bleeds into college life.” He goes on to argue that, although the phenomenon of the teen author pop icon has its roots in a fascination with the gifted youngsters among us, it has created a culture which commoditizes and monetizes an author’s age … and by turning age into currency, we of course perpetuate an opportunity for unhealthy exploitation. The label “teen author” also has the undesirable side effect of following young writers into adulthood, and diminishing the true value of what they do. Chapman concludes that, “At the end of the day, what matters is not your age, but the quality of your work and your personal integrity.” Wise words for us all. You can find the rest of his article at the MCLA Beacon website.

Kelly Speaks, news from the self publishing world, self publishing news

Self-Publishing News: 2.28.2016

This week in the world of self-publishing:

Zines Reborn: Inky Fingers Keep DIY Publishing Alive in Bangkok

In this February 28th article for Khaosod English (“a Bangkok-based news website providing coverage of Thai politics, economics, and culture to an English-language audience”), Chayanit Itthipongmaetee recounts the history of zines, particularly in eastern Asia, and the positive impact that they have had on Thailand’s literary scene. Says Itthipongmaetee, the zine has its origins in a thoroughly Western context: they “started in Western countries […] with topics considered outsider, aggressive or antisocial such as hardcore punk or metal,” and “exploded in popularity when reproduction technology such as photocopying machines made it cheap and easy for anyone to create their own.”

The story of the zine is, in this context, the story of every narrative that breaks the mold and leaks out around the edges of “standard practice” and “standard interest” in traditional publishing. But zines didn’t stay a Western concept. As Itthipongmaetee recounts, “Whereas zines in the West vanished as soon as anyone could roll a Geocities site, they endured until internet access became widespread in Thailand in 2004 or so. Most Thais turned to blogs, boards or services such as Exteen, Pantip and Thaimail.” This has made zines a more enduring expression of creative freedom in Thailand than they have been in the United States––and, since most zines are self-published, they have become a focal point around which the east Asian indie movement rotates.

For the rest of Itthipongmaetee’s excellent article, including her conclusions on where zines in Asia are headed in the near future, check out the original article here.

The Creationists

“Publishing is not really a business at all, it is a verb, the act of putting something into the wild, usually with a consequence,” writes Philip Jones in this February 26th article for The Bookseller: “They are creationists—in a good way. They need to believe. Yet there is a flip side. Publishers occupy positions of power: what they project into the world has an influence precisely because it has been ‘published.'” This means that self-publishing, rather than just an exercise in ego and self-benefit, is truly a radical act that challenges the established information hierarchy of many nations and cultures. It has the potential to effect real change in redressing many great wrongs that have been handed out to aspiring authors by the traditional publishing industry.

As Jones goes on to point out, “publishing may now be starting to listen (and act).” He’s speaking, of course, about Penguin Random House’s decision earlier this year to sell its self-publishing business (Author Solutions): “acknowledging, one might hope, that investing in authors with one hand, while taking their money with the other, always looked at best uncomfortable and, at worst, an existential disaster.” In a brilliant move that I highly recommend following up on, Jones then points his readers to Penguin Random House’s (UK division) decision to roll out a comprehensive “Creative Responsibility strategy,” with CEO Tom Weldon remarking that a “publisher of our size really could be a force for good in society above and beyond the books we publish.” The fact that Weldon and Penguin Random House recognize the fact that a healthy self-publishing sector boosts their traditional publishing sector––with everyone benefiting from increased value and increased sales––is a hopeful sign, indeed. For the rest of Jones’ article, click here, and for a look at Penguin Random House’s creative responsibility strategy, click here instead.

BookFuel launches FundMyBook.com as a crowdfunding source for authors

In a February 25th press release for PRNewswire that was reposted to Crowdsourcing.org, the makers and runners of BookFuel––”a company that provides professional self-publishing services to aspiring authors”––announced the launch of FundMyBook.com, a website dedicated to helping authors “publish with the help of sponsorships and other support by friends and family. FundMyBook.comprovides a viable option to any writer who may have been intimidated by the effort required by other crowdsourcing sites or the expense of self-publishing.” And we’re all very well aware of just how expensive it is to be an author, both in respect to the actual production of a book, and in the marketing campaign that follows. FundMyBook.com is designed to serve as a book-specific analogue to Kickstarter and GoFundMe, two popular project-funding platforms that allow people to raise money from like-minded individuals. There are several key differencees between FundMyBook.com and these other crowdfunding services, however. As the press release points out, it is “difficult for writing projects to stand out” among all of the competition for the average person’s attention. “These other crowdfundingsources also don’t provide the social media exposure or the help planning for the costs of the reward fulfillment that FundMyBook.com does for aspiring authors,” the press release states.

It looks like FundMyBook.com might be of legitimate use as authors look for new ways to reach untapped markets. For the entire press release, follow the rabbit hole all the way down the link!

Self-Publishing Notebook: Welcome To The Jungle!

And last but not least in our lineup for this morning, I give you Jonathan Kile of the Tampa Bay’s Creative Loafing fame on the fundamentals of self-publishing. In his February 24th article for CL, Kile begins with a subtle flourish of dark humor: “So, let’s get this out of the way. Amazon apparently works their people really hard, practices predatory pricing to establish dominance in whatever it is they choose to sell, and also has a special machine that crushes kittens.” But Amazon, Kile argues, is so omnipresent that resistance, in the classical sense and especially as pertaining to authors aspiring to break out into the self-publishing method and market, truly is futile. The “why?” as Kile explains, is nowhere near as important as the “what next?” And as Kile so simply puts it, this step consists of getting “into bed” with the Big Bad corporate world via Amazon. It may not be the ideal situation, he writes, but it’s the one that we must face in any case. “It takes a lot of work to write and publish,” says Kile, “and just as much work to get noticed.” And while he states that this is simply the first salvo in an ongoing series about digital content and Amazon, Kile’s article captures a fascinating cross-section of opinion as regards the current state of indie publishing and how it intersects with the wonderful world of Amazon. For the whole thing, follow the link.

Kelly Speaks, news from the self publishing world, self publishing news, Uncategorized

Self-Publishing News: 2.22.2016

This week in the world of self-publishing:

Growth curve: Reedsy

It looks like Reedsy––a self-publishing marketplace platform that “empower[s] writers, publishers, editors and designers to build hybrid careers and work together quickly and effortlessly through bespoke, user-friendly digital tools”––is filling in some very important gaps for the indie community, as this February 19th article by founder Emmanuel Nataf for The Bookseller intimates. Writes Nataf, “Until only recently, the self-publishing arena was an unchecked battleground, a veritable free-for-all where authors and freelancers alike placed their profits in the hands of lady luck.” But a sea change has arrived as the indie publishing industry matures, as he goes on to say––a sea change that has taken some endurance to see through, as self-publishing authors and companies face social stigma and constant critical examination coming from the traditional commercial publishing sector. Things may be changing, however: recently named FutureBook’s BookTech Company of the Year, Reedsy is looking to find its place in a stabilizing conversation with other industry standouts about the future of self-publishing. “After all,” writes Nataf, “if there’s one thing we’ve learnt, it’s that successful growth as a startup depends on looking out, as well as in.” For more information about Reedsy and the FutureBook awards, follow the link!

New Smartphone Apps for Self-Publishing Authors Launched by Outskirts Press

Big news for the digitally inclined! As per this February 16th press release, Outskirts Press has officially completed work on a suite of apps for smartphone users that aim to make the self-publishing experience an even richer and more rewarding one; the apps are available to authors with both iPhone and Android devices, says the article, and “provide users with self-publishing guides and information, connect users with the Outskirts Press social media community of self-publishing authors, and provide direct links to contact Outskirts Press instantly by phone or email.” Outskirts––which describes itself as offering “full-service, custom self-publishing and marketing services for authors seeking a cost-effective, fast, and flexible way to publish and distribute their books worldwide while retaining all their rights and full creative control”––sees the apps as a way for its authors to connect with both their audience and their self-publishing team. Other indie publishing companies, like Kobo and Amazon Direct, offer supplementary apps, but Outskirts’ newest offerings may prove to be the most streamlined yet. For more information, visit the original press release here.

The Indie Authors Guide to Trends in Erotica and Erotic Romance

If you’re looking for the latest and greatest news when it comes to bodice-rippers and steamy romance, Publisher’s Weekly has got you covered. In its annual review of what’s going on in and what’s to come in the genre––this year courtesy of Ryan Joe on February 19th––PW first takes a moment to define the difference between the two terms:

Erotic romance, according to a definition from the Romance Writers of America, refers to “novels in which strong, often explicit, sexual interaction is an inherent part of the love story, character growth, and relationship development and could not be removed without damaging the story line.”

And erotica? “Erotica is just people doing it,” says Cordelia Logan, who has written 19 stories under five pen names and is beginning to focus on BDSM.

Good to know. More importantly, erotic romance and erotica make for a good slice of the self-publishing industry’s total footprint (written and read) … so even if you don’t like it, don’t read it, or don’t like to admit that it exists––it does! And it’s churning along in any case. And “Thanks to the rise of self-publishing,” writes Joe, “authors can now experiment more.” For the full article, and lots more pith for the aspiring indie erotica or erotic romance writer, you can always stop by the original Publisher’s Weekly article.

Kelly Speaks, news from the self publishing world, self publishing news, Uncategorized

Self-Publishing News: 2.15.2016

This week in the world of self-publishing:

5 Ways Self-Publishing a Book Can Transform Your Career

“Maybe you’re already got the #girlboss title of your dreams,” writes Ashley Mason in this February 12th article for Brit + Co, an online media index that “enables creativity through inspirational content, online classes and do-it-yourself kits.” A major hit since its debut in 2011, Brit + Co turns out to be the perfect platform for Mason’s advocacy efforts on behalf of self-publishing: “Publishing a book can instantly make you an authority in your industry,” she writes, “but getting picked up by a publisher is out of reach for most people because they don’t have a large enough following or the established reputation that attracts book giants.” The solution? Taking advantage of the multiplying resources out there for first-time self-publishing authors. “It’s tough, but the payoff is big,” says Mason, and closes out her article with her list of 5 benefits to going indie (HINT: the list includes personal branding, better royalties, and improving your communications skills). For the rest of Mason’s stellar article, follow the link!

Is Self-Publishing Coming of Age in the Digital World?

It’s not every day that self-publishing makes it into the BBC news digest, but Dougal Shaw has taken the conversation to the biggest international media playing field in this BBC Business piece, published on February 9th (and indexed at Digital Book World). As has become common, Shaw segweys into his piece with an almost obligatory shout-out to Fifty Shades of Grey, followed shortly thereafter by a description of Andy Weir’s journey to fame with The Martian. Interestingly, Shaw then takes a look at what he calls a “cautionary tale”–the story of Douglas Wight, a “former News of the World tabloid journalist [who] set up his own company to self-publish a biography of pop diva Rita Ora, in the run up to Christmas.” According to Shaw, “Self-publishing wasn’t as straight-forward as [Wight] had hoped,” with the author shouldering “the different formatting requirements of the various e-book outlets, organising cover illustrations and marketing, all while bearing the financial risk of the whole enterprise.” Wight’s book made good on his investment, however, and is earning its keep. As such, an expression like “cautionary tale” might seem like overkill when the very same person is on the record as saying “he feels his gamble paid off.” The moral of the story? When jumping into a new endeavor like self-publishing, it’s best to be prepared for a steep learning curve, and to lean on the assistance that is out there. For more of Shaw’s article and the accompanying news video, visit the BBC Business article here.

Self-Published Book Bumps ‘The Girl On the Train’ Out of the Top Spot

“The day my book got to the number one spot on the psychological thriller best seller list, I knew it finally bumped The Girl On The Train off the perch it had practically owned for the last year,” writes Eva Lesko Natiello for HuffPost Books in a February 10th article. Natiello, author of the indie book The Memory Box, writes: “That was a big deal for me. Mostly because my book is self-published. Any self-published author knows how difficult it is to compete with other indie books, not to mention, traditionally published ones.” And what does Natiello credit her success to? In part: an engaged reader base, and a great deal of “buzz.” Says Natiello: “The challenge is, how to get buzz. What is the marketing plan? We can’t do it in the same way traditionally published books do.” Indie authors lack the paid professional marketing team that traditionally published authors have in their corner by default. She advocates for self-publishing authors to steer clear of trying to beat the traditional books at their own game, but rather to focus on taking advantage of self-publishing’s unique benefits. What are those, pray? Immediate price flexibility is one, writes Natiello, and speed to market in addition to accessibility to readers. Indie authors have nothing to apologize for, she says. Traditional publishing has rigged the game against midlist authors since it became an institution, and now indie authors are taking back the field–with elbow grease and ingenuity. For the rest of Natiello’s reflection on her time on the bestseller list, check out her essay here.

A Ferret Named Phil: Adelaide author William Reimer’s anti-bullying children’s book a surprise hit

Fresh from across the Big Pond, here comes another instant international indie bestseller! In his February 9th article for Australia’s ABC News, Brett Williamson introduces his readers to the winsome little anti-bullying picture book, A Ferret Named Phil. The brainchild of 21-year-old Adelaide author William Reimer, the book follows the (mis)adventures of its titular character as he encounters a series of rough situations. Reimer, writes Williamson, “said he and the majority of his friends had experienced some form of bullying while growing up and that he wanted the book to help children who may be subjected to bullying.” He originally drafted the book as part of a high school project before rediscovering it at the the bottom of a drawer and rewriting it–up to seventeen times–as he journeyed toward publication. Reimer quit his job at a café before polling local banks and his social circle for funding. Eventually, he met with success as he crowd-sourced his funding efforts and self-published, and now that the book is in distribution he’s beginning to see positive responses flood in. “Recently I got a message from a mother who wanted to thank me for the book,” Williamson quotes Reimer as saying: “Her little girl shied away from things and then she started to read my book and took it to kindergarten in her bag every day. When her mother asked her about it, she said that she wanted to be brave like Phil.” That’s about as sweet a testimonial as one could hope for. Watch out for this book as it crosses the seven seas in the coming year!

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