Book Sense
By Jerry D. Simmons | April 25th, 2007 | No Comments » (Click to add yours!)

Last week I encountered an angry Book Sense executive. I was emailing an author from NothingBinding.com and accidently hit the reply button which sent the intended email not to my colleague but to the Book Sense office. In case anyone is not familiar, Book Sense is an organization designed to offer Independent Bookstores news, reviews, and information about titles from small publishers.

My comments went something along the lines that Book Sense would never promote Independent titles because they are funded by the big six publishers and have become a mouth piece for the big publishers and thus would not be interested in promoting Independent titles to Independent bookstores. Well I quickly received an email response from Book Sense intended to clarify my position.

First off the gentleman I spoke to was upset that his name was used in the private email and that I was spreading false and misleading information. He did tell me he would send corrected information to me to clear up the misinformation. He seemed to think the fact that I have been away from NY for over four years had a direct impact in my lack of understanding.

Well here is what I do know: (1) I have yet to receive corrected information, (2) I made a mistake including the name of a former colleague, and (3) It does cost an Independent Author to “place” his or her title in the Book Sense newsletter. Aside from that I stand behind my earlier comments until I hear different from the Book Sense staff.

Why am I telling you this? And why should you care? Because it is not my intent to mislead anyone with my writing, I try to be as accurate and honest as possible about what I write, whether in a private email or blog for everyone to read. In this case I stand behind everything I wrote earlier until I hear otherwise from a respected and credible source.

This blog is unedited, please disregard mistakes in spelling and grammar.

 

Business Calculations for New Authors
By Jerry D. Simmons | April 24th, 2007 | No Comments » (Click to add yours!)

You may not like it, but once you start selling your book, you’re in business—exchanging a product (your book) for money. Predators are looking for new author/business people who have not yet figured out how to earn a business profit from their books. Following is a sample calculation for determining whether a marketing service is worth the expense. This example evaluates the profitability of a book fair; the same calculations apply to other marketing services:

The only business that earns money at this book fair is the vendor who charges authors $150 each. If there are 25 authors at the fair, the vendor earns revenue of $3,750; the vendor’s expenses are the cost of renting the space to hold the fair, let’s say $1,000; plus travel & living at $185; plus advertising costs of about $500. The vendor makes a profit of $2,065 ($3,750 – $1,685).

Unlike naïve author/business people, service vendors who prey on them do not operate at a loss. Before plunking down your money, ask yourself these two questions:

How many books must I sell to make this expense pay for itself? How likely is it that I’ll sell the number of books necessary to recover my costs?

This free article was provided courtesy of Marilyn Haight; WordedWrite.com (http://www.wordedwrite.com).

 

How to Make Your Book Irresistible
By Jerry D. Simmons | April 24th, 2007 | No Comments » (Click to add yours!)

So how do you create an irresistible sell? How do you create a product or pitch so perfect, that customers can’t resist it? We all want it, but finding that secret recipe to becoming someone that beckons success or that the media can’t stay away from can be tricky. With the new year still fresh on our calendars, now is the perfect time to get your plan for the next 12 months in order, but where to begin?

First, you’ll want to look at your book as more than a book, look at it as a solution to someone’s problem, an experience, an adventure, but stop looking at your book and thinking of it as “just a book” – you’re not selling a book, you’re selling an experience. Think about the last TV commercial you watched. When was the last time someone came out and said “hey, I’m selling a widget, isn’t that cool?” No, instead they show you the experience the widget can give you and how it will change your life.

The first person you have to sell your book to is you. I talked to an author a few weeks ago and she told me, “well, the book is ok I guess.” OK? If you’re going to sell this book, you’re going to have to think it’s more than just “ok;” you’re going to have to love it. If you’re not passionate about your stuff, no one else will be, either.

Give your readers what they want, not what you think they need. This is a big one, and most retailers know this lesson by heart. Giving your readers what they want can be hard. How do you know what they want? By listening to them. We had a program that for years we sold on our web site. It was a “do it yourself” sort of a package that authors used to love. More recently, we started getting complaints about the product (we offer full refunds on all of our products), so we returned the fees and took the product back to the drawing board. Consequently, we now have a redesigned, stronger product and people love it. Listen to your customer/reader and give them what they want, it’s that simple.

What’s your Loss Leader? Do you have something you can give away? Loss leaders or “leave behinds” refer to inexpensive gifts, pens, freebie reports, booklets, or in some cases, your book. If it’s appropriate to your market, genre, and book, consider coming up with your own loss leader. I was at a romance writers convention recently, and some authors there had the cutest things, everything from custom chocolate bars to small containers of bubble bath (with the name of their book title on them, of course!). Consider what your loss leader is, and whether or not you want to create one.

And finally, you’ll want to use the right words to tell your story. This harks back to the “your book is more than a book” statement. Take a look at the words you’re using to sell your book. Are you pushing emotional hot buttons, are you tapping into your readers’ desires, hopes, and fears? If you’re not, go back and tweak the copy till it’s right, or better yet, hire someone to do it for you. I have yet to write the copy on my own books. Why? Well, I’m simply too close to it. Invariably I miss something, and it’s usually something big. Don’t let the big message slip through your fingers, get that copy to sing.

Being irresistible in the eyes of your reader is different for each of us, but the biggest piece to this is that it’s not what matters to us, it’s what matters to our buyer. By keeping the needs of your customer in mind, you’ll always have the exact right book, message, or product, and before you know it, you, too, will be impossible to resist.

Written by Penny C. Sansevieri for her free newsletter Creative, Innovative & Effective Marketing penny@amarketingexpert.com.

 

From Bestselling Author Nicholas Sparks
By Jerry D. Simmons | April 24th, 2007 | No Comments » (Click to add yours!)

The Business Side of Publishing

Publishing is a business. Writing may be art, but publishing, when all is said and done, comes down to dollars. Keep that in mind.

I say this because of the volume of mail I receive from unpublished writers who believe that “having a good story,” is enough to guarantee success.

It’s not. I hate to say it, I wish it wasn’t true, but it’s not. Some of the best novels I’ve ever read never hit the best-seller list, then faded away before sadly going out of print. There are also some poorly written novels that do become best-sellers. Writing a great novel is the most important thing you can do to become a success, but sometimes it’s not enough these days.

Publishing has changed over the years. Charles Dickens was primarily a serial writer whose work appeared in magazines. Ernest Hemingway and F. Scott Fitzgerald worked with one of the great editors of all time (Max Perkins), and received a great deal of personal attention from the publishing house, in addition to building their market through short stories. In the 1970s, the paperback market was much larger than it is now provided a vehicle for young writers to build an audience (Stephen King, Nelson DeMille, Danielle Steel, Peter Benchley — the paperback market was huge in their careers). Now, hardcover novels seem to be critical (The Notebook, The Horse Whisperer by Nicholas Evans, Cold Mountain by Charles Frazier, Absolute Power by David Baldacci were all best-sellers in hardcover as first novels).

Because publishing is becoming more business-oriented each day with more examination of the bottom line, it’s harder to break out than ever. Publishers are generally less willing to take big chances in “growing” an author. They want books that will sell, and usually sell right away. If they don’t think yours will sell, odds are, they won’t take a chance on it. Why? A major reason is because authors in general have become more prolific. F. Scott Fitzgerald, Ernest Hemingway, and William Faulkner have fewer published novels combined than any number of contemporary novelists — Roberts, King, Koontz, Steel, etc.

Why does this matter? Suppose a person reads about eight books a year. Odds are, the person also has a list of contemporary authors in their mind who are already favorites. Then there are the backup authors who they sometimes read. Then there are those authors whom they’ve heard of over the years who they might be willing to try out if the circumstances are right (at a rack in the airport, for instance). For most people, that’s coming up on eight books already. So why would they take a chance on someone new?

With that in mind, as a writer, you have to understand business factors that are important to the editors making the decision on whether or not to buy your novel: What’s the genre? What successful books are similar to the one you’ve written? Why is yours better? What’s the market for your novel? How can we get the word out to that market? And most importantly, will this book be recommended to others?

It’s important to understand how the business works and the more knowledge you acquire the better. Again, spend a great deal of time in the Writing/Publishing section of the bookstore. The more you begin to think of this as not only as an art but also as a business, the more likely you’ll be to succeed.

Page URL: http://nicholassparks.com/WritersCorner/Business_pf.html All materials copyright ©2002, Nicholas Sparks Enterprises, Inc. All rights reserved.

 

The Literary Agent
By Jerry D. Simmons | April 24th, 2007 | 1 Comment » (Click to add yours!)

Approaching an agent begins with stating how you found out about the agency: referral/publishers marketplace/some other website – so that the agent knows the channel through which you’re approaching them and that you’re not one of the millions wasting their time with blanket submissions. The standard “I’m writing in the hope that you will be interested in considering my literary/commercial/satirical/whatever-type novel/thriller/suspense (for women/the y-gen/baby-boomers) called, [insert title here]” can then be broached.

The reader needs to know straight away what type of project is being submitted (fiction/nonfiction/self-help) and if it’s even going to be the type of project they represent. Most writers don’t bother to think that agents have ‘lists’ or tastes in the same way that publishers have ‘lists’ and that they don’t just handle every type of book. So you need to research and pitch straight away to that taste you suspect (rather than KNOWING) they have.

THEN you can give a two-para description of the plot. Best to steer away from comparisons. I’ve read some letters that try to introduce personal details and some that attempt humor. These efforts are ALL cheesy and make me wince. Limit details to professional experience and, importantly the awards you’ve won/been nominated for. Frankly, that’s what will lead an agent to ask to see your material.

Those projects I’ve asked to see, I’ve done so because of a FEW pages of sample writing enclosed in the package. The plot’s all very well and good to get a sense of commercial/literary etc. but it’s the writing that pulls. I wouldn’t waste time with a synopsis/chapter breakdown. Just one really good passage (not even a whole chapter) that exemplifies the essence of the work in terms of style/humor.

At the end, it’s polite to mention whether the work is on open submission with a handful/couple/broad number of agents, or whether the recipient has it exclusively for consideration.

Oh, and don’t smoke while you’re writing/printing/packing the thing. I say straight ‘no’s to people whose habit hits me before their work and whose smell makes me want to hurl on opening the parcel. It’s something they probably don’t realize, and it’s such a visceral response… I know if the paper reeks, then the author will evince a similar odor and I’ll find it really difficult to have this person in my life or even want to introduce them to anyone else with a sense of pride. Other agents may be more forgiving, but an olfactory assault is not to be recommended.

Follow the recommended submission guidelines strictly. I hated being woken up at 9am on New Year’s morning to a delivery by an overly zealous writer. He got rejected. THINK about when and how the parcel will be received. So, if someone says regular mail, don’t do FedEx or even express mail. If someone says FedEx, don’t do UPS, regular mail or any other type of carrier. There’s a reason behind the request, which usually has to do with their lifestyle. Don’t annoy them off before you start.

Continuing with Agent ABCs: The Basics – By Rick Frishman

How agents work: Literary agents fill two primary, and often overlapping, roles. They serve as both their clients’ Sales representatives and as their literary advisors. In order to sell their clients’ work, agents read it, assess it, and advise clients on its quality and market potential. They also create strategies for its sale for publication. Agents identify potential publishers and offer their clients’ writing to publishers, negotiate publishing contracts and monitor publishers’ contract compliance. Good agents constantly position their clients and work with publishers and the media to build their clients’ careers.

Agents’ Compensation: As compensation for their services, agents receive a percentage of the gross income from the publishing agreements that the agents obtained. They essentially function as commission salespersons who act as middlemen or vendors to sell their clients’ writing to publishers. What does this mean to you? At present, the standard percentage for literary agents is 15 percent of all income that authors receive from the sale of the book and its subsidiary rights. Unless otherwise stated, this amount is calculated on gross sales on the book’s cover price. Agents also usually receive 20 percent on foreign sales, and some are getting more. They receive more for foreign sales because they have to coagent with colleagues abroad.

Reasonable and Unreasonable Charges: Many literary agencies also charge for certain expenses such as photocopying, postage and long-distance telephone calls, which are reasonable. However, some may charge for marketing, travel and administrative expenses, which can be expensive. Reasonable expenses that you should expect to pay are those that your agent must lay out to represent you and submit your work to publishers. The expenses you are charged should be the same that all of your agent’s other clients pay. Before you sign with an agent, get a list of all the expenses you will be charged and try to get an idea of how much they should run. Here’s a good tip: When you negotiate a contract for an agent to represent you, insist on a provision that gives you the right to approve all expenditures over a stated sum, say $50. Unless unusual circumstances exist, you should not agree to pay for ordinary phone calls and other basic administrative expenses. If a provision is included in the contract that requires you to pay a percentage of the funds you receive for office, administrative or managerial expenses, think twice, because those tasks are normally part of the agent’s job. If the agent insists, put a dollar cap on those expenses. And whenever your agent requests or deducts expenses, request an itemized statement of those costs.

Contracting with an Agent: At a certain point, most agents will insist that you give them the exclusive rights to sell your writing; they will ask you to sign an author/ agent agreement. This point varies from agent to agent, but many won’t give you much of their time until you sign. Your agreement with an agent should specify that it applies only to a particular book or project. It may contain an option for your next book. If you create spin-offs or new, revised, or updated versions of the agented book, the agent who negotiated the original deal will be entitled to share in revenues received.

Specialties — Literary agents specialize in many kinds of books. Usually, their areas of interest are listed in the guidebooks and on their Web sites. You can also pick up books with topics that are similar to yours and look for the names of agents in the acknowledgment sections, where authors generally thank their agents. Even if you find an agent with the same specialty as your book, that agent might not be right for you–or you might not be right for him or her. How can you tell?

When an agent could be right for you: When you approach the agent who just sold the hottest diet book with your time-tested diet book that is based on your long-running newspaper column called “Eating Right.” It also doesn’t hurt that you’re a certified nutritionist who lectures frequently. Since the agent has experience with diet books plus the connections and knowledge of what diet books editors and publishers are buying, you just might have contacted the right agent.

Why that agent might not be right: When you contact that agent about your diet book, the bar might be set so high that you don’t have a chance. Since his or her recent success, that agent may have ascended to another level, representing only high-profile chefs and foodies with the most established national platforms.

Different Types of Agents — Some agents represent a variety of authors who write about many different fields. Some literary agencies have agents who specialize in different areas. If an agent or an agency doesn’t handle your type of book, he or she usually can refer you to someone who does. And their recommendations can make a difference. Start thinking of yourself in terms of your specialty areas. Are you a parenting writer, a memoir writer, a true-crime writer, a business writer, or a gardening writer? The more precisely you describe what you do, the more effectively you will be able to communicate with agents or people who can connect you with agents. Agents who specialize usually have terrific contacts with editors and publishers in their areas of interest. They are familiar with all of their books, the competition, their current lists, and their wish lists.

Reprinted from “Rick Frishman’s Author 101 Newsletter ” Subscribe at http://www.author101.com and receive free by email my “Million Dollar Rolodex”.

 

Creating the Pitch for Your Book
By Jerry D. Simmons | April 24th, 2007 | No Comments » (Click to add yours!)

The PITCH– Designed to hook the reader in the first couple of sentences, create curiosity, intrigue, the need for more information. The PITCH is selling the sizzle. Here are the relevant points:

Read competitive titles in your area. Thank you to Patricia L. Brooks for these notes. She is the President and Founder NAWW Scottsdale, Arizona Chapter. She is also an Author, Speaker, Business Coach, and Arizona State University Faculty member. Email: patricia@plbrooks.com Web: www.plbrooks.com

 

The Future is Non-Traditional
By Jerry D. Simmons | April 11th, 2007 | No Comments » (Click to add yours!)

Look at that title and you wouldn’t know someone was writing about books and publishing but the future for selling books that are Independently Published is through the Internet.

Most Independent Authors fight for space in the traditional marketplace: bookstores, mass merchants, anywhere that titles from major publishers are displayed. In my opinion, that is the wrong place to spend your time and money. The big six dominate that market, representing a combined 80-85% of the shelf space and possibly as high as 90% of the total sales. The price of entry is too high and your chances of selling enough books to pay for the marketing and placement allowances are remote. Besides, the big retailers are never going to allow a continual presence in their stores.

That is not meant to dash all hope but let’s be honest, it’s extremely difficult for major publishers to sell all of their titles. What chance does an Independent Author have of making a real dent and sell enough to warrant continuous shelf space and sizeable reorders? Not impossible but not probable either. I want each of you to be successful. Your future is sales to the specialty market and through the Internet. I believe there are tremendous possibilities in those areas and not fighting and scratching for inches inside a traditional bookstore.

The big six have not figured out how to utilize the Internet to their advantage, but when they do, they will monopolize your opportunities. Beat them to it, do some research and find pockets of readers who want your books. I’m certainly not the Internet expert but there are plenty of people who know how to do this. However, let me caution you, the same goes for Internet marketing as for traditional marketing, there are never any guarantees and do not pay for something you cannot confirm. The future for substantial sales of Independently Published books is not the local bookstore but the online bookstore.

This blog is unedited, please disregard mistakes in spelling and grammar.

 

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