If you don’t like the terms offered by Amazon’s ACX for selling your audiobook, you do have an alternative. Author Lee Stephen explains the path he took.
Note from Jane: Today’s guest post is from Joanna Penn (@thecreativepenn), and is based on her new book, Business for Authors: How to Be an Author Entrepreneur, out now in ebook, print and audio. During the last five years, I have seen a major shift in the publishing arena because of emergent technology and a changing […]
Welcome to The Smart Set, a weekly series where I curate a selection of articles from the past week related to the publishing/media industry that merit your attention. I also point to what I see as the most interesting underlying questions, and welcome you to respond or ask your own questions in the comments. “To seek: to embrace the questions, be […]
While lots of authors are fond of saying that readers don’t care whether something is traditionally published or self-published, many of them also want to tell you there’s this marching army of indie-only reading author. So which is it going to be?—they’ll read anything? or they’ll read only free-range indie books?
Shanna Swendson, author of the Enchanted Inc. series of books, is working what some authors might consider near-magic in a transition from traditional publishing to self-publishing. And she’s getting savvier about it fast.
My latest column at Writer Unboxed tackles serial fiction—and how it’s changing writing, reading, and publishing. Here’s a little snippet: Both serials and fan fiction have been around a long time (since Dickens, remember?). If these forms are being reinvented and rediscovered because mobile- and tablet-based reading is growing, this may mean the strategic author […]
Much shorter and quicker to go over than the initial report, this edition takes into account information interpreted from approximately 11,000 titles in genre fiction; 900 in literary fiction; 30,000 in non-fiction; and some 10,000 in children’s (not YA) fiction. Hugh Howey has, since the first report, adopted a more frequent use of the term “spider” for the software his still-unnamed associate is deploying.
You may be looking at the best chance ever encountered for authors—of all stripes, Ms. Rowling, as Hugh Howey tells us—to at last come together, to make common cause, and to speak as one with a force this industry has never known.
Table of Contents “To Call for Change Within the Publishing Community” “To Stand Up for Each Other” “A New Era of Openness” “I Didn’t Have a Social Life Before” “To Call for Change Within the Publishing Community” This is how a movement might start: Indie authors are outselling the Big Five. That’s the entire Big […]
Table of Contents Lit Smart Rebecca Hugh and Cry Combat in the Community If You See Us Running… Lit Follow that burning fuse. It runs between these two curiously different words. We may need to think about which of them is closer to us. Revolution. Pretty comfortable. Thanks to Madison Avenue, we nowadays say “revolution” for […]
Table of Contents Read It and Tweet No Anti-Social Scientists, Please “A Two-for-One Special” Our “Bifurcating Future” Read It and Tweet A funny thing happened to me on Twitter this week. I “crafted a tweet.” (Sounds so “artisanal” that way, no?) This was the kind of tweet in which I like to mention a new […]
DBW’s producers at F+W Media may take their mission even more seriously than usual: this DBW takes place in a winter without a Tools of Change (TOC) conference from O’Reilly Media.
Micro-published books are short, tight, and swift. A meaningful discussion of micro-publishing has been pushed aside during the ongoing tug-of-war between traditional publishing and independent publishing (self-publishing). But we are well beyond “everyone is a writer” at this point. We have progressed into “everyone is a publisher,” if they wish to be—and we have been living in this realm for some time already. Fortunately, micro-publishing benefits the industry as a whole by bringing some much-needed simplicity and directness into a publishing equation that is often weighted down by its own complexity and contracts. And it also benefits you, the writer.
Is it possible to successfully publish and sell your e-books—without a platform—as long as you choose the right genre?
Table of Contents They Three Queens of Orient Were Hope and Fear #1: Visibility Hope and Fear #2: Literary Fiction Hope and Fear #3: Rest They Three Queens of Orient Were If they’d been guys, they’d never have made it to the Nativity. Once the OnStar of David navigation system got behind a few clouds […]
If we want to count all the self-publishing authors, then we need to survey and count every hapless no-income-from-writing would-be traditionally published author who gets nowhere and ends up at the bar next to me discussing the superb color that Milan puts into Campari.
Our surveys are counting the self-publishing losers.
Our surveys are counting only traditional publishers’ winners.
Michael Tamblyn of Kobo was The FutureBook’s Most Inspiring Digital Dude of the Day and, I’m sure, of many days to come. In a finely arranged conference full of important and edifying detail and personality, Tamblyn seized that room’s collective intelligence with gratifying honesty, pink lightning on a bare stage.
It comes as news to no one in the industry! the industry! that self-publishing is controversial. We may tend, however, to think of it as controversial for that industry, while not looking at what it can mean for writers and writing. It is, in fact, a development full of argument not only for publishers but also for literature.
Note from Jane: The following post is the first in a series that will offer tips and advice from successful authors about self-publishing, specifically those who use Barnes & Noble’s Nook Press as part of their overall sales, marketing, and distribution strategy. This series is sponsored by Nook Press, which means they have paid for […]
As a hand-wringer here, I’m one of the “but not all” skeptics Coker mentions, unpersuaded, and how good that he’s careful to note that we’re not all mollified. For me it’s not the compensation issue, actually. I’m more concerned about how literature of all genres (don’t get sidetracked here, I mean all books) fare on the buffet.