Tagged: POD

All apologies

I’ve been neglecting you.  But that’s a good thing.

Y’see, when I’m away from this blog for extended periods of time, that means I’m writing.  Deeply, intensively, happily immersed in some project that’s caught my fancy like a handful of shiny coins tossed into a monkey cage.  I live to work and while I enjoy posting on this blog, it’s not the kind of creative endeavor that fires my soul and gets the creative juices bubbling and steaming.

To catch you up on things:

My novel So Dark the Night moves ever closer to publication.  Yes, I mean an actual book.  I did a lot of research into the various print on demand outfits and decided to go with Lightning Source.  Their poor rep, Chris Thompson, put up with pages of questions and a couple of phone inquiries, often having to endure some crankiness from my end.  Usually it was because I’d misread some piece of info and assumed LS were over-charging for a service.  I’m naturally suspicious and sometimes equate print-on-demand with the bad old days of “vanity” publishers, who tried to bilk every last dime out of suckers.  But so far Lightning Source passes in the service and honesty departments with flying colours.  They offer a lower per book cost and at least the opportunity, a chance (however small) to break through into the retail marketplace.

The text is set (thank you, Sherron!) and the cover design is moving along.  We’re using the same Ado Ceric piece that we employed for the e-book.  The first time I saw the picture, I knew it was the one.  It’s going to look gorgeous reproduced on a fat 5.25″ X 8″  trade paperback.  Oh, yes…

We’re looking at a retail price of $17.95 which, I think, is reasonable and certainly in the range of other books similar in size and format.  Hoping for a release date in mid-late April and will post further on this point as publication nears.  Can’t tell you how thrilled I’ll be when the book arrives from Lightning Source, printed, bound and beautiful.  It’s the best thing I’ve ever written…and the hardest work I’ve ever done.  3+ years writing and editing.  And editing.  And editing

But it was worth it.

We’re coming up on the third anniversary of this blog—March 18th is the semi-official date of its inception. I usually have one or two little treats I dole out around that day and this year is no exception.  If you’re in the neighborhood mid-month, drop in for a visit.  I think you’ll find a few goodies and tidbits, a heartfelt “thank you” for your support and patronage.

I’ll say no more.

There are exciting times in the days and weeks ahead.  I’ll be sharing the highs (and lows) with you, continuing to depict, as authentically and truthfully as possible, the life of an indie writer in the 21st century.  It’s a hard row to hoe and the rewards are few and far between.  But it’s a life that allows me to work and exist in absolute freedom, beholden to no one but my Creator.

So what, exactly, do I have to bitch about?

Revisiting “So Dark the Night”

Thought I’d better pop in with an update, let you know what I’ve been working on in my little office at the top of the stairs.

Editing, mostly, with a little bit of music and sports talk radio to help ease the pain.  Aw, it hasn’t been so bad.  I’ll admit to experiencing a lot of trepidation when I decided to give my novel So Dark the Night another run-through before I published it as a print-on-demand book next year.  I posted it on this blog two years ago and since then have received numerous requests from readers that I release a “dead tree” edition of my supernatural thriller (and I do try to please my readers).  Probably a smart idea:  between this site and Scribd, So Dark has been downloaded at least a couple thousand times…a situation that pleases me beyond measure.

But I was worried that the interval of two years would rub some of the lustre off the book, reveal flaws, expose slipshod writing.  Fortunately, that hasn’t been the case.  The changes I’m making are cosmetic and are mainly due to how hard I was bearing down as I completed my final edits.  I had been at work on So Dark the Night for three years and I wanted to make sure it was exactly right.  I think it seems too tight in places and I am trying to loosen it up a tad, enhance Nightstalk’s narrative voice.

I’ve given myself a some firm deadlines to have this manuscript polished up and the book released by a certain date (more on that later).  Delighted that the book is holding together very well (thus far) and that my faith in it, my love of the two central characters, is more than justified.

I’m also pleased that both my cover artists, Ado Ceric and Adrian Donoghue, have agreed to allow me to use their art when I release So Dark the Night and Of the Night in 2010 (likely through Lulu.com).  The books have each been assigned ISBNs and we’ll soon finalize cover design and jacket copy.  Feels good to be an indie publisher again–it’s been more than ten years since we released The Reality Machine and that’s too long.  Gotta make up for lost time.

Stay tuned.  2010 is gonna be a busy year.  Gotta celebrate my 25th year as a professional writer in style.

Break out the bubbly, string up a pinata…hell, folks, let’s have ourselves a party!

Preserving the Future: A Modest Proposal

glove2My wife Sherron has thrown down the gauntlet.

The other night she told me:  “Listen, you’ve had your fun insulting editors and publishers, belittling their intelligence, always going after them.  Now, how about something constructive?  You’ve got ideas on how to improve things and make the system run better so let’s hear them, wise guy.”

Right.  Here goes.

First of all, it must be acknowledged that, by any standards, the corporate book publishing  model has been a complete failure.  Publishers are losing money, cutting staff, consolidating…and book sales have taken a big dip (according to one stat I saw on Mediabistro, down a whopping 13% in November, 2008 from the previous year).

And this notion that there are editors out there with the wisdom and far-sightedness of Solomon, who are somehow able to identify and manufacture the next monster bestseller is a complete fallacy.  Moronic, in fact.  Has no basis in reality whatsoever.  Look at what happened to Andrew Davidson (author of Gargoyle; Random House); guy gets a hefty advance, the book is promoted up the yin-yang…and it barely makes a ripple.  Certainly no threat to becoming the next Da Vinci Code, right?

lusiYou can’t pie chart a bestseller, you can’t graph which book is going to break through big time–and which ones are going to flounder and sink like the Lusitania.  Please recall that the enormous, worldwide success of J.K. Rowling resulted, largely, from strong word of mouth, parents passing along copies and recommendations of The Philosopher’s Stone until a genuine groundswell was created.

You can’t consistently create a bestseller but what you can do is use the new technologies out there so that, as a publisher, all your eggs aren’t crammed into one basket.  Changing the metaphor, why settle for the equivalent of a single shot, old style flintlock, when POD offers you the opportunity to wield a state of the art shotgun?

Print-on-demand (POD) gives you that capability.  Unlike the old, offset press method of publishing, POD is flexible, far less time-consuming and energy intensive and cheap to boot.  You can print as many copies of a particular title as you want, from 1…to ten million.

Instead of throwing big dough at a title/author that is, by no means, a sure thing, why not spread that loot around a little?  Rather than sign up five authors at a million plus each, why not give 100 writers a chance, paying them smaller upfront fees but rewarding them with a  higher royalty rate.  That payment regimen has worked with small and indie presses for years–and, believe me, you’ll be astonished at how little an author will accept in their desperation to get a book in print.  It’s depressing, really.  Pathetic.

Ah…sorry.  Wandered off topic.  Where was I?

Okay, now you’ve got 100 different authors with a hundred different books, 95 more opportunities to find the next Steve King than you had under your stupid corporate model.   And you don’t give your 100 hopefuls ridiculous print runs, you start modestly.  That way you won’t be stuck with massive returns, which then have to be remaindered, warehoused and pulped, more money down the drain.

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You can print as few as  500 or 1,000 copies per author and then emulate what the movie companies do when they offer films as limited releases, to gauge audience reactions and get some idea as to a project’s potential appeal.

Thinking along the same lines, publishers could send out review copies to newspapers, magazines and bloggers and, simultaneously, “test market” books in selected stores (or by offering them as downloads through e-Readers like Kindle et all).  Let the readers and the book-lovers determine which authors have wider appeal and then do another, larger printing to meet the demand (the author happily cashing in at the higher royalty rate).

Some might opine that under a royalty-based system the publisher would be tempted to cheat, since they’re the ones controlling the books.  I would argue that Bookscan and related technologies, as well as computerized inventories and the publishers’ selfish desire for authors to score a hit and sell a gazillion books makes the possibility of fraud quite remote.

axWhat I like about this system is that it allows a wider array of authors to develop a following, while not feeling the pressure of a big money contract hanging over them.  The risks are shared between the writer and the publisher…and as far as I can tell the whole thing seems like  a win-win scenario.

Corporate publishers have been slow out of the blocks when it comes to new technologies, especially POD.  Instead of utilizing  POD as I have suggested, some in the industry have chosen a more short-sighted and morally questionable approach.  In my view, they’re misusing POD by going after relatively small peanuts, offering print-on-demand services to aspiring and amateur scribblers who have yet to make the grade, encouraging them to sign up and print their own books.  Oh, and, let us not forget, that means said scribblers have to sell and distribute their own books.  The big boys deigning to offer no other assistance, content to serve as a glorified copy shop for dingbats desperate for a for-real-and-true book to wave in front of their friends (“See?  See?  Told ya I was a writer!”).

But I have my doubts these tactics will work.  Writers, as a rule, tend not be be made of money so you can only milk that teat so long.  Besides,  iUniverse and Lulu have been around a lot longer and have seized a sizable slice of the market share.  But it’s an enticing proposition, turning the old regime on its ear:   writers paying publishers, rather than vice versa.  Zowie!  And if there are enough stupid, starry-eyed authors out there, who knows?  Those rotten bastards could stand to rake in a nice stipend.

But those same publishers could make a helluva lot more if they abandoned their home run/big book mentality and settled for hitting singles and doubles for awhile…especially in these precipitous economic times.

boxI’m not saying my business strategy is completely original or perfect and if you have any thoughts on its weaknesses, how it could be improved, drop a line or two in the “Comments” box below.

Let’s see if we can put our heads together as bibliophiles and devotees of the printed word  and save publishing from the worst aspects of itself.

If it means a wider, more diverse cross-section of authors make it into print, having more books out there, more choices for readers, our efforts will be worth it.

Hey, you suits  in New York and Toronto!  Are you listening?

What do you say?

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