A growing number of authors with serious literary cred are finding greater financial success—and a welcoming community—in the romance business.
SELF-e offers self-published authors a way to distribute ebooks to libraries, but without any pay. The team behind SELF-e addresses the money issue.
Journalist and consultant Porter Anderson explains the new SELF-e program from Library Journal for getting self-published ebooks into American libraries.
Chris Kenneally and I discuss the growing field of so-called “hybrid” publishers, and how authors can smartly evaluate them.
Author and writing coach Hannah R. Goodman shares her experiences in self-publishing and marketing YA fiction.
Author Carol Bodensteiner answers the seven questions she gets most about working with Amazon Publishing.
Jane discusses building a digital presence, querying 15 years ago vs. now, agents vs. self-publishing, crowdfunding, and the future of publishing.
Should literary writers consider self-publishing? How it might affect their long-term careers? Two agents weigh in.
Last month, author Harry Bingham and I launched an author survey to explore the experiences and current leanings of traditionally published authors in the English language. The Bookseller in the UK originally reported on the survey here; it can catch you up on what we hoped to accomplish with this effort. So the results are now in. We received 812 responses; you can view […]
Robert Kroese reveals the process that allows him to write up to three books per year, and how authors can increase their sales potential.
Learn how to improve the description of your book, and improve its metadata, when using Amazon KDP.
What is crowdfunded publishing? Learn about the two types of models now prevalent, plus the major services you can choose from.
A group of literary authors have launched a limited edition box set of novels. How did they make the collaboration work?
A traditionally published children’s author discusses how she’s launched a successful indie publishing effort in less than two years.
You can find marketing inspiration in what others have done, but also know that the less advertised “strategies” might actually be the ones worth pursuing.
Two literary agents offer their thoughts on the self-publishing of children’s books and what the future of the picture book might look like.
Full-time author and speaker Scott Berkun discusses his book marketing experiences as both a traditionally published author and self-published author.
Amazon’s Kids’ Book Creator allows the average Joe to create illustrated children’s books for the Kindle and upload them directly to Amazon.
This is an introductory guide to the major self-publishing options available to authors today, and how to choose the right service for you.
UK author Harry Bingham describes the four stages of his career, and why he’s decided to self-publish after good experiences with traditional houses.
Giving away your work isn’t a problem if you’ve developed a strategy around it, and know how to turn new readers into fans.
Amazon says that Kindle Select participation is healthy, and that the Kindle Unlimited ebook subscription service is leading to more reading and sales.
In a 30-minute video interview, I discuss the basics of author platform.
Word doesn’t export to EPUB, but you can still produce an editable file quickly, without buying software or using a “meatgrinder” conversion.
Today’s guest post is by Hellen Barbara (@hbarbara27), president of Pubslush. Recently, Amazon joined the e-book subscription playing field alongside Oyster and Scribd to offer subscribers unlimited access to more than 700,000 e-books and 2,000 audiobooks for the monthly price of $9.99. This service is called Kindle Unlimited. When a player as big as Amazon enters […]
In January, I’m moderating a panel at the Digital Book World Conference + Expo, which focuses on information and ideas about the digital publishing landscape. In advance, I’ve answered five questions about digital publishing to help attendees make the most out of the three-day event, and lay the groundwork for conversations that will take place at the conference and […]
Note from Jane: Today’s guest post is by Sangeeta Mehta (@sangeeta_editor), a former acquiring editor of children’s books at Little, Brown and Simon & Schuster, who runs her own editorial services company. With all the changes taking place in the publishing industry, it seems harder than ever for even the best writers to secure a […]
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.
The digital dynamic, which makes it possible for people to publish books with or without traditional publishing support, also seems to be revving many folks into a shared assumption that faster is better.
Are we impatient for the “new books”? We are. Do we have to have them tomorrow? We don’t. Will they be better “new books” if we take a little time to make sure everyone is accounted for, considered, even consulted and heard before we declare digital tools our icons and traditional publishing our new parking lot? They will.
Is it possible that all the changes happening in publishing can be encapsulated by a conversation about self-publishing?