Tag: Self-Publishing

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

From the Archives: “7 THINGS TO KNOW ABOUT TRADITIONAL PUBLISHERS”

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 18th, 2010 ]

Things every author consider when considering self-publishing vs. the old-fashioned model…

7 – Traditional publishers lose money on over 85% of the books they publish, so they only accept around 2% of those that are submitted.

6 – They typically accept manuscripts only from established authors who have demonstrated a proven track record.

5 – Authors lose content control of their work during the editing process.

4 – Authors must still invest an enormous amount of time, energy, and money promoting a traditionally-published book.

3- Authors typically receive 5-10% royalty on the wholesale price of the book, and from that have to give 15-25% to their agent. Do the math.

2 – The majority of books published by old-fashioned publishers go out of print within 3 years. Many books that are stocked on book shelves remain stocked for as little as five weeks before being returned, unsold, to the publisher.

1- Old-fashioned publishers acquire all rights to your book and keep them, even when the book goes out of print or the publisher goes out of business. Yikes.

Publishing is hard and weird, and the process takes far more energy and attention than it rightfully should.  If you’re lingering in the balance between opting in to the traditional publishing mechanism or choosing to pursue a self-publishing option, this list from 2010 may just provide the last swing vote.  To pretend that we are unbiased would be disingenuous, I know, but isn’t there another side to this list?  Isn’t there some dirty laundry to air about indie, hybrid, and self-publishing companies, too?

Yes, no doubt.  That’s the honest answer.  The self-publishing model isn’t for everyone, and there are certainly the requisite number of soulless opportunists who have spotted a new means to exploit newcomers, as there are in any industry, but for the most part I do find that the people who work with and alongside self-publishing authors are a good lot.  They’re genuinely interested in helping you succeed–according to your own standards and expectations, not under the unrealistic ones set by traditional publishing.

So here’s my claim for the day, with a proviso:

When self-publishing is done right and all of the people involved in a project operate by the foundational tenets of the indie spirit, the experience provides authors the exact opposite experience of traditional publishing.

7: Self-publishing has no gatekeepers, censors, or men in suits wagging their fingers at innovation.

6: Anyone can self publish, no matter their background or prior experience with publishing (traditionally or otherwise).

5: Authors retain full artistic and legal control over their work.

4: Authors get to see a direct proportional relationship between the time, energy, and money they spend promoting and marketing their book–and sales figures.

3: With no middleman to split the earnings, self-publishing authors can keep anywhere up to 100% of their own royalties.  That’s, well, a lot better.

2: Self-publishing authors have a weapon in their artillery that traditionally published authors do not which resolves both the overstocked and the understocked problems facing traditionally published authors and their distributers: Print on Demand (POD).  Because you can always go back and print more copies of your book, there’s no danger of running out.  And because you get to choose how many books you print in the first place and how they’ll be distributed, you’re not shipping crates of untouched books to distributers who will never be able to move copies.  Precision targeted sales, that’s what POD enables!

1: Nobody will ever own your work except you.  Nobody.

When you cast things in a certain light, it gets really and truly hard to see the benefits of opting in to a broken system that has yet to meet the rapidly-evolving needs of a digital market where they live.  And I’m not just saying this because I’m biased–I am biased, 100%–but because I’ve been through the wringer of traditional publishing.  I know what it’s like.  Like most self-publishing authors, I’ve dipped my toe into the world of traditional publishing and come away angry, hurt, and disappointed.  And I’m committed to making sure as many authors get to move on to far better and more positive things, as I have.  I’m committed to making sure authors know they have another, better option.

And yes, it’s called self-publishing.

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.  ♠

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

From the Archives: Self-publishing vs. Independent 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: July 28th, 2010 ]

Guest Post: The Book Doctor on Self-Publishing vs. Independent Publishing

Q: When you spoke at a conference recently, I heard you refer to self-publishing. Isn’t “independent publishing” the correct term now?

A: Yes and no. An independent publisher is a small publisher that may or may not publish the works of the owner, but it always publishes the works of other authors, as well. When you publish only your own books, you are self-publishing. I know the distinction is vague; in either case you have to set up a company and be a publisher, but an independent publishing house accepts the works of others, as well as the works of the owner.

Also, when you use a firm that helps you publish, so that you don’t have to set up your own company, you are a self-published author, as opposed to a traditionally published author.

In the end, we are simply talking semantics. If you spend any money at all toward the printing of your book, you are self-published. Being self-published used to carry a stigma, and perhaps that’s why some people don’t want to use the term, but the market has changed over the years, and people’s attitudes have changed with it. At a time when selling a book to a traditional publisher is almost impossible, yet printing your own book has become easier than ever, self-publishing has taken on a whole new character and lost much of its prior poor image. Nowadays the only stigma comes from a poorly written or unedited self-published book. If the book looks good, reads well, is thoroughly edited, and sells well, who cares who paid for the printing?

While the words of the Book Doctor remain as true in 2016 as they were in 2010, I’d like to play devil’s advocate for a moment and argue that no, we’re not just “talking semantics” when we talk about the distinction between “independent publishing” and “self-publishing”–and in part I’m inspired by yesterday’s news compendium, or more specifically, Alex Palmer’s “Indie Authors Business Guide” for Publisher’s Weekly.  A self-publishing author who does not run an indie press may or may not choose to pursue becoming a limited liability corporation (LLC), but an independent publisher has no choice in whether or not to run his or her work as a business.  (Besides, passions run hot when it comes to these distinctions, as Judith Briles of AuthorU explains at length.)

And there’s an additional wrench in the works: “independent publishing” is not the same thing as being an “indie author.”  As Joanna Penn of The Creative Penn writes, “The term ‘indie author’ has been increasingly claimed by authors who want a new label, one that does justice to the work involved.”  This isn’t a matter of semantics, but of self-identification and empowerment.

As Penn goes on to point out, the proliferation of publishing platforms and models means that there’s a lot more confusion between the clear-cut definitions that we have relied on in the past, as we did in our 2010 Book Doctor post.  “Indie” could mean someone who publishes online and cuts out the middleman entirely, someone who publishes through an indie press, someone who partners up with other self-publishing authors to create a micro-business, someone who publishes through unpaid digital platforms and relies on sponsorships and donations, and so on and so forth.

One of the things I like best about using the term “indie” is that it takes the heat out of the situation.  There’s a tendency to consider self-publishing the opposing binary or even “enemy” of traditional publishing, but the savvy author knows that it’s less about the inherent components of the model than it is about the people working within that model and how well they serve the author.  Self-publishing may be “friendlier” on the whole to its authors by design, but that does not mean every traditional publishing option is inherently evil or that every hybrid or self-publishing company treats its authors well.  Indie authors take control of their publishing experience by finding the right option and team of professionals for them, without pitching publishing models against each other in some kind of Game of Thrones death match.  Indie authors are entrepreneurs as well as consummate businessfolk, and I respect them so much!

Close up of innovate definition

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.
Advocacy in Self-Publishing, Kelly Speaks, Uncategorized

Dispatches From The Hybrid Publishing Experience

Last week, we took a cursory first glance at the hybrid publishing experience, in hopes of defining it with a touch more clarity than has been the norm.  Our final conclusion?  The simplest and most straightforward definition of hybrid publishing might be as follows:

Hybrid publishing is any publishing model that allows authors to enter into direct, flexible, contractual collaborations with industry professionals that in traditional publishing would be indirect (they would be paid by the publishing house, not the author) and are not traditionally available to self-publishing authors.  This includes companies like Outskirts Press, which offers a range of collaborative services, and excludes the so-called “hybrid author,” or someone who has moved from traditional publishing into self-publishing or vice versa.

(You can catch up by reading the full original post here.)

But what does it feel like to publish through the hybrid model?  What is the experience like?  I thought we might glance over some of the statements that have been made about hybrid publishing by the authors who choose it themselves––a couple of collected dispatches, if you will!  Here are the two dispatches I keep coming back to:

dispatches

I have just finished my third book with Dog Ear Publishing, and if there is a fourth–not likely–I’d not hesitate to go with them again.

To try to find a publisher for my first book was intimidating. I tend to research everything from buying a can opener to buying a new car, so I went to the omnipotent internet–and promptly got overwhelmed. There are dozens and dozens of publishers, of course, all spouting promises and rewards, so I was pretty much in the dark. I found that Dog Ear Publishing seemed to have generally favorable reviews, as well as a package that seemed to fit my needs, but a lot of other companies appeared competitive. But sooner or later one has to fish or cut bait–so I crossed my fingers and pushed the button and they took my money, just like that.

I was assigned to Amber, who proved to be a gem, patiently answering all my questions both promptly and understandably. But alas, she wanted to start a family, and I was switched to Adrienne. I didn’t like that–at first–but she didn’t miss a beat and proved to be an apparent clone. All went reasonably well and the book became a best seller. (Well, at least in my family.)

The second time I went with Dog Ear Publishing was because of these two women, but it was also smoother because I learned to make it a bit easier by more care on my end–strive hard to get the copy as close to right the first time, learn from one’s mistakes, allow for the inevitable exception, that sort of thing.

The third time I went to Dog Ear Publishing for the same reasons, but did wonder what would happen as a few wrinkles showed up. Again, both Amber and Adrienne took turns holding my hand and guiding me though, and I certainly needed them, because of two particular situations: One, for the cover I wanted to use one of my own photos, but the contrasts in tone and subject matter made it difficult to include the title/author in clear type. But Amber was relentlessly patient, repeatedly having the design dept. come up with some adjustment till we finally got it right.

Second, when the five comp copies came, they were acceptable–almost. They were very readable, but some pages did have a noticeable lighter font. I didn’t know if Dog Ear would agree with my assessment, but it was my baby, so I pushed for a reprint. I was surprised to find no pushback whatsoever. They did ask for sample photos of the text to validate the differences, but then quickly reprinted and sent me five new copies as well as extras to cover a few that had already been sold.

So there you have it–and perhaps I should have placed this first–Dog Ear provided;

Varied and useful packages, including developing a website for me and getting the books on Amazon and other outlets, and providing PR materials as per contract. Outstanding customer support on all levels. Knowledgeable, professional, and patient caretakers (Amber and Adrienne especially). Prompt and thorough responses to a multitude of questions, and a willingness to truly “work with” the author.

I love this review, not just because it gives one specific company a good review, but because it speaks to the real strengths of the hybrid publishing experience: constant communication, flexibility, and a real willingness to put the author’s vision at the forefront of the publishing process.  That’s amazing!

MMCM: One day I had an encounter with a boyfriend I’d had in years past, and we talked about what had gone wrong between us. It was already too late for us, so after I went home that day I wrote a letter to say all the things I hadn’t been able to say to him in person. When I read it over the next day I really loved it, so I decided: all of these poems that I’m putting together are connected to these men I have loved–past and present, you know, since I still love them–and I decided to write the stories that go along with the poems.

[…]

OP: How did you discover Outskirts Press?

MMCM: I had a conversation with a literary department at an agency I currently work with, and they told me ‘Yeah, we can do the book. We can submit it to different publishers.’ But they said, ‘Realistically, this could take up to two years, and if we were you–you already wrote it, you’re already promoting it, you’re already building a fan base. You should go ahead and self-publish.’ I started looking into different self-publishing companies, but I immediately liked that Outskirts wasn’t Barnes & Noble or Amazon. I didn’t know much about the publishing world, but I just knew I didn’t want to drive myself crazy. I looked into different companies as well, but Outskirts was what felt right, and I went with my gut.

OP: Artist Deanna First helped create the cover of your book. It’s an intriguing piece–how did it come to be?

MMCM: Deanna is a really amazing fashion illustrator. I found her online, through a blogger friend of mine. I loved how soft and mystical her art was. I live in Los Angeles, but I went to New York for a wedding and for New York Fashion Week, and I met up with her. I had a vision of what I wanted, and she totally understood what I was trying to do. I sent her a copy of the book, and an image of myself that I really loved, and told her to make the artwork her own. She sent me three proofs one day, with variations in color and lettering, and as soon as I saw it–her art was so, so beautiful. I chose the version with black because I felt it was symbolic for a chased chapter, a closed book. I was starting a new life at that point, and the art expressed a sort of mourning. Since Letters is an intense book, with lots of ends of loves, it fit.

OP: What do you find to be the most rewarding aspect of becoming a published author?

MMCM: The most rewarding part is and will always be the ability Letters has to touch people. It’s crazy because I didn’t think people really read books anymore. But for me, having these girls go and buy my book, and spend their twenty dollars or so on Letters–it’s amazing, that someone believes in things still. People say my book has helped them heal, and that it has touched them, and that they have read and reread the book five or six times. It’s not a long book, but still! That’s the best feeling.

A lot of girls and guys have hit me up, saying I inspired them to write again. It’s so great, because I’ve had people inspire me throughout my life, so it’s kind of like I’m paying it forward. I love showing people that things are possible. When I first saw Jennifer Lopez in a movie, you know, I was like–wow, a Latin girl on screen! I was being represented. It was so powerful. If I can be an inspiration to someone to write, to publish a book, that’s beautiful.

What I love so much about Mirtha Michelle Castro Mármol’s account (above) is that she speaks so clearly and directly about how hybrid publishing can bring an author’s whole and complete vision into the world.  She describes her vision, and how she collaborated with the staff of Outskirts Press to bring it into being––from writing the book, to finding the company she wanted to go with, to finding a designer for her book’s cover, to connecting with her readers after the fact.  For Mirtha Michelle, you simply can’t divorce the publisher from the published experience, and I think that’s a beautiful thing.

 

And there you have it!  Two of the most insightful dispatches from inside the world of hybrid publishing … when it goes well.  Next week, I’ll take us full circle back to marketing––and answer the questions: How does hybrid publishing assist an indie author in the realm of marketing a book?  Does it offer tangible benefits?  How can an author know when the expense is paying off?  Watch this spot next Wednesday for more about this new and growing niche in the self-publishing industry!

 

Thank you for reading!  If you have any questions, comments, suggestions, or contributions, please use the comment field below or drop us a line at selfpublishingadvice@gmail.com.  And remember to check back each Wednesday for your weekly dose of marketing musings from one indie, hybrid, and self-published author to another. ♠

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.
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:

“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!

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.

“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.

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!

spa-news

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.

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.

Advocacy in Self-Publishing, amazon, Marketing Your Self-Published Book, print-on-demand, Uncategorized

From the Archives: “Self-Publishing Authors Can Get Their Books on the Shelves of ‘Traditional’ Bookstores”

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: April 27th, 2011 ]

Even with the recent changes in the book publishing industry, a “traditional” bookstore presence should still be a goal for authors who want this. Why? Well, with this presence, authors are able to target an audience that is passionate about books. Think about it — people have to leave behind the comforts of their own home to go into a bookstore. Most likely they are there to purchase a book. If your book is on the shelf, yours may just have a chance at being the book they buy.

How can you work toward getting your book into that bookstore, though? Is it a matter of luck? Can self-publishing authors make the cut? The good news is that even if you’re not necessarily on a “lucky streak”, it’s still possible to successfully target placement in “traditional” bookstores. However, you must have a solid plan in place for doing so. Here are a few action items to put on your list as you get started:

  • Make sure your book is fully returnable. If your book cannot be returned, there is great risk involved for the bookstore. For example, if they stock 10 copies of your book and only 4 sell over the course of a year, they are losing money. If the book is returnable, though, the store can simply send the book back that doesn’t sell. Think of this return-ability as a type of “insurance” for your book.
  • Offer a sufficient trade discount. What’s sufficient? Typically that will be around 50-55% (or higher). Of course this does cut into your profits, but a higher retail margin gives the bookstore more incentive to stock your book on their shelves. No incentive? No cigar.
  • Build proof that your book is desirable. This is probably the most difficult (though not insurmountable) part of it all because authors often have a bias view of their book. However, the best indicator of a desirable book is exponential sales figures. If the amount of books you sale doubles, triples, quadruples, etc. month-after-month, that is something that can work in your favor. If you aren’t a professional marketer, you may want to seek the services of a book marketing consultant. Make sure they are able to help you draft a marketing plan and go forth on planning your publicity.

After you’ve done all of the above, you must put together a proposal to submit to bookstore contacts. You can find others specifically on their websites, but Barnes & Noble can be reached here:

The Small Press Department
Barnes & Noble
122 Fifth Avenue
New York, NY 10011

Other bookstores can be found through Google. Another popular site for locating independent bookstores is Indie Bound.

Do you know of any other bookstores that are small press/self-published friendly?

– by Wendy Stetina

When Wendy first posted this article back in 2011, the publishing industry looked rather different––and in many ways, it looked to be stumbling down the path to utter self-annihilation.  Borders, once a behemoth of the bookselling industry, went out of business in 2011, leaving many readers and authors questioning what––if any––place the brick and mortar bookstore held in the future of their industry.  In the heated discussion that followed in the post’s comments section, various Self Publishing Advisor subscribers pointed out the rise of online retailers as the cheapest and most effective sales platform for indie authors.  In response, SPA moderator Elise L. Connors wrote that “[T]his post wasn’t written with the intention of persuading authors to go after bookstores. It was actually written to let authors who are going after that avenue know that they shouldn’t give up on that ‘dream’ because of the current landscape of the industry.”  (The italics are mine.)

It’s true that Amazon has continued its meteoric rise to the top of the bookselling industry since 2011, and it’s also true that Amazon’s expanded offerings to self-publishing authors have captured much of the market and spurred much public dialogue about the world of indie publishing.  It’s true that Barnes & Noble’s online presence, the Apple iBooks Store, and a whole host of social media platforms and numerous self-publishing companies have sprung up in recent years to diversify and stabilize the market.  And while there have never been so many ways to buy and sell a book as there are in the year 2016, it is true too that ebooks and e-readers have done nothing to lessen customers’ appreciation for the pure tactile pleasure of a brick and mortar store.

Even Amazon has come around to seeing a street presence as importance, as evidenced by the launch of the first Amazon Books shop (in Seattle) last year.  Yes, it seems mostly a kind of marketing gimmick, but it’s one that works.  As one skeptical self-publishing expert learned, even the store’s critics often walk away with an Amazon Prime Membership or a physical book or two.  (These are true stories, people!)  There is, apparently, nothing that quite beats the “instant gratification” of beholding actual physical books on an actual physical shelf.  And while the jury’s still out on whether Amazon Books stores will do anything specifically geared to boost sales of self-published works––like installing Espresso Book Machines, for example, or offering curated collections of Print on Demand (POD) editions of Kindle favorites––one can’t help but notice the wide swathes of shelf space dedicated to Kindles in pictures of the interior.

amazon bookstore

And Amazon’s not the only company with a brick-and-mortar presence that can make a difference for indie and self-publishing authors.  In fact, many independent bookstores and even larger chains like Denver’s Tattered Cover go to great lengths to boost sales of local indie authors.  On my last visit to one of Tattered Cover’s several stores, I stepped inside the doors and made my way toward the coffee bar––only to find my progress impeded by a series of low bookshelves that blocked out the cafe’s seating area.  These shelves were the first thing every customer sees when walking in that store, and they were positively packed with self-published books, placed there on consignment.  (If you live in or near Denver and are interested in knowing more, visit their website.)

 

But ultimately, I’m not here today to defend the bookstore as a vital place to sell your books.  I’m here to help those of you who already know you want to get your book into a bookstore somewhere … to do so with the least amount of fuss.

To return to Wendy’s original post, most bookstores now either mandate her first point (“Make sure your book is fully returnable“) or take any guesswork out of the equation by relying on a consignment model (as with Tattered Cover, above).  And Wendy’s second point holds true: when an author is given the option, it’s a wise idea to “Offer a sufficient trade discount.”

In many ways, however, Wendy’s third point is the most important.  Aside from keeping your name and work in the public eye, simply by virtue of placing your book in a bookstore, there are several ways you as an author can help “Build proof that your book is desirable.”  Most bookstores have stringent standards for the self-published books they stock: the title in question must dots its is and cross its ts in that it must have an ISBN, a cover that exudes professionalism and sound design sense, and so on.  Striving to meet these standards in order to appear on Barnes & Noble’s or Tattered Cover’s shelves can only do good things for the “desirability” of your book on a larger scale.  I guarantee you that an attractive, professional-looking book will sell better online as well as off the shelf.

Last but not least, a fantastic way to sell readers on the value of your book is by building relationships with them––and one of the best ways to make contact with your readers is to host events … at your local bookstore.  If you pursue hosting such an event, many bookstores will offer additional opportunities to feature your works within your stores, especially since good attendance at your event will likely translate into a solid spike in general sales for them.  (More foot traffic always equates to more sales when it comes to a brick-and-mortar bookstore.)  And the flipside of the coin is also worth examining: if you have already managed to clear a bookstore’s consignment standards, they are more likely to agree to partnering with you on hosting such an event.  Readings, Q&A sessions, and book signings are fertile ground for the indie author!  ♠

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.