And when I die,
and when I'm dead, dead and gone,
There'll be one child born in this
world to carry on,
There'll be one child born
to carry on.
Let's talk about estate planning for independent-author/publishers. Not a fun topic, I know, but there's no point shoving our heads into the sand in the enthusiasm of the young indie-author revolution and pretending that we're going to live forever.
Business succession planning
All businesses face succession issues — who will take over for key managers and employees. In larger firms, this is just a normal plan, part of the annual review of the business's readiness to handle change.
Family businesses have additional challenges — what will be the role of the family members in the business once the founder dies or retires? Will they run the business, or will they just own it and let others run it? Will they sell it, and how?
A business is an engine for making money. Without the right people in place to make it work, or someone to sell it to, it falls apart.
We indie-authors/publishers are typically one-man businesses. We don't think in terms of key employees, since we haven't got any, but we are ourselves the key employee, and we need to make plans for what will happen when we are no longer able to run our business. And if we've managed to grow large enough to have actual employees, we have the same issues as any other small business. We need a business succession plan.
You've written a book or several, you've presented the world with a few well-written, well-formatted, well-edited stories, and you're settling into a world of writing, pleased that you've come some distance up the path from your initial indie panic at all the different skills you need (not least your writing skills).
Your pencils are sharpened and you're ready to really bear down on the writing process, now that you have a handle on it and know how your books will actually make it into the book retail trade, and who you can call upon for extra help when you need it for covers, etc.
STOP. WAKE UP.
What is it we find backward about traditional authors and author-wannabes? The notion that all they need to do is write, and someone else will take care of all that stinky stuff like marketing and all the business issues.
Is that what you want to do?
Don't forget — you're not an indie AUTHOR, you're an indie AUTHOR-PUBLISHER. You don't get to just disappear into your writing and hope that everything else can just follow the initial methods you've chopped out of your research for how-to-publish, as though that were something static and unchanging.
All manufacturers and merchants assign tracking numbers to their products. The generic term for this is SKU (Stock Keeping Unit). Each firm has its own SKU codes and conventions, private to the firm or perhaps shared among a few partners. For the book trade, the ISBN is their SKU and, unlike almost every other industry, that SKU is used throughout the trade, from the manufacture of the physical edition all the way through to the retailers.
The ISBN is a set of numbers that uniquely identify an individual book product (title, format, size, edition, etc.). The old ISBN was 10 digits long, but that was replaced by a 13-digit standard in 2007. Technically, the 10-digit version is called “ISBN” and the 13-digit version is called “EAN”, but colloquially they're both referred to as “ISBN”. The name for the new standard is “EAN-13”.
Barcodes are for machines to read, using scanners. They were introduced in the 1970s and are now ubiquitous. When you look at the bars, each cluster of lines (bars) above a number represents that digit to a scanner, The contrast and exact widths matter.
Different international standards for different uses have different barcode layouts. (Look at your groceries or other purchases for examples.) In the book trade, only the layout for EAN-13 is relevant.
The big cluster on the left is for the SKU (the ISBN, for the EAN-13 standard), and the small cluster on the right is for PRICE, mostly. The value “90000” for the price means “no price”, that is, the retailer's own system will be used to lookup the price when the barcode is scanned in at the register. This allows a retailer to set whatever price they want, sometimes by slapping their own barcode sticker over the book's barcode, or sometimes by just reading the price printed elsewhere on the cover, or a discount applied to it. Most indies use “90000” as the price, for the convenience of the retailers.
Every human-readable bit of text in a barcode is just for humans — the scanners pay no attention to those letters/numbers.
How do you get a barcode?
Many companies want to sell you a barcode, and some try to get as much as $25 for the service. Don't fall for this, as an indie author — it is never necessary to pay for a barcode.
To begin with, both Amazon KDP and Ingram will supply a barcode for your book for free. When you use their templates to design your cover, you will see a space marked out for the barcode, and you can shift that to wherever you want it to appear (along the bottom of the back cover).
But what if you want to print your book via some other POD supplier, or do a short-run print locally? You will need to give them a barcode to use. There is nothing proprietary about the barcode that Amazon or Ingram have added to the back of your book, but just copying that won't deliver a very clean image. Instead, you want to use a fresh image generated by a barcode service, and there are many free ones out there.
One of the things I like about it is that they look up my ISBN and accurately decompose it (I have a range of 1000).
I also like that the height and layout is identical to that used by Amazon. The only thing Amazon does differently is to add the text “ISBN 9781629620633” above the left block, and we can do that, too, if we want to. Remember, that's only for humans to read, not machines.
I can output the barcode into any number of formats and give it to any other printer to use, or stick it on the back of my cover image myself.
There's no reason to ever buy these from someone else, not for our simple needs.
Last year I spent many months upping my game with regard to building technical engines around marketing. I tackled a lot of new tools and systems, but I ran out of steam before I got to Facebook Ads, the most complex system of them all, and one that's critical to international and target marketing.
Well, I'm paying for it now. I got revved up, re-listened to my Mark Dawson “Ads for Authors” course for Facebook (highly recommended) and started putting mailing list (subscriber) ads together.
I have a new series coming out circa year-end and a German translation in the works, and I've been unserious about my mailing list (200 people), so I'm way overdue for winding this all up again and getting back on the newsletter horse.
I'm not going to complain about the general complexity of the Facebook ads system (and it's equally impressive power as a platform for ad management). No, today I'm going to rant about the integration of technical systems that's required to actually make all of this happen.
Last year, before I wound down, I made some tool choices which I didn't put into use, but I did the research well and now I'm, as it were, unwrapping the packages and digging into them. I feel fortunate, a year later, that I'm still happy with my choices.
But look at what it takes to run a simple mailing list ad for Facebook, from the perspective of all the pieces required, esp. if you're as obsessive as I am about tracking as much data as possible.
One frequent question from new independent writers is “What tool can I use to track my book sales?” They're looking for the right tool to fetch and consolidate all of their sales data.
In genealogical circles, a similar question is “Who can tell me about my family's ancestry?” and it's the subject of an amusing and sardonic tall tale that tells of the search for the file that contains all the answers.
The same answer applies to both: “Sorry, buddy, you gotta do all that work yourself. Nobody's already done it for you.”
If you're only distributed by one retailer, like Amazon, or you're using one of the current tools that make a serious effort to capture some (but not all) of your unit sales — and that satisfies you — then this is not the article for you. I won't be critiquing the currently available tools because none of them can provide a single platform for tracking ALL your sales in ALL your channels, nor provide you with all the information you want to track, if you can.
You're going to have to build that yourself.
Let's start by exploring what, in an ideal universe, you would want to track about your book sales over time, and why.
The devil's in the details…
Sales by month (units and $)
Surely it's not too great a burden to go to each of your channels just after the end of the month to get your basic numbers. For me, that's
Direct: Amazon, Barnes & Noble, Kobo, Smashwords
Distributors: (Kobo, Smashwords), PublishDrive, StreetLib, IngramSpark, and AuthorsRepublic (audio).
But that doesn't really tell you much except what to expect on a royalty statement when you get paid. Nor does it account for other kinds of sales, such as direct sales at a book fair, books sold on consignment in local stores, or your ecommerce sales. So that's incomplete.
And it also doesn't provide the information you need to draw trend and analysis data, unless you keep such details as Title, Format, Price, Language, etc.
For marketing and promotional purposes, you also want to see the details of “which retailer” for the distributors, as well as the country.
Then there's the question about what level of detail should get into your actual accounting system, vs tracking and analysis. After all, when royalties arrive, you have to record them somewhere. Your accounting system is where you track money, but it's not a good place for all the non-financial detail. It cares about monthly sales by royalty payer, not the details about individual channels.
You need two levels of information:
Simple per-royalty-payer financial information and physical inventory tracking (those book boxes in your garage)
Highly detailed sales information at the deepest level available from your channels and distributors
I'm currently knee-deep in improving my complete mailing list and newsletter setup so that I can start to launch improved marketing via Facebook ads. This requires all sorts of retooling for digital stationary, branding, automation, landing pages, onboarding… the whole megillah). Lots of learning curves and emails-to-customer-support to clear up the messy details.
The result will be better newsletters for everyone, significant incentives and offers for signing up, and hopefully a larger group of more engaged readers. If you're already a subscriber (one of my select few) I'll be telling you separately in more detail. (Once I figure out how to, using all-new tools…)
In the midst of all this productive diligence, just the sort of message that every writer of fantasy likes to receive was sent my way via dinner tonight:
“A way out of financial uncertainty is discovered as if by magic!”
I recently saw the movie “Hostiles” (distributed widely 2018), and found in it a perfect example of how message fiction can completely kill a story. So, naturally, I had to write one of my Irritated Reviews™ to get the consequent rant out of my brain.
The premise is straightforward. It is 1892, and a cavalry captain in New Mexico is commanded, under Presidential order, to escort a long-captured Cheyenne war chief (who is dying of cancer) and his family to his old territory in Montana to die. The captain will then retire. The full synopsis is here.
Let me get a few unimportant things out of the way. The acting is quite good (to the limits of the script material) and the cinematography and costuming are well done. There — that's about it for the praise.
There are a handful of own-goals, pointless errors that could trivially have been avoided.
When a man defends his cabin from a raiding party of Indians, he leaves the shelter of its walls to stand out front pointlessly and be shot. (Because otherwise his wife and children who are watching from a short distance instead of running away won't get to see him die, for the benefit of the audience.)
When attacking Indians burn a cabin poorly defended by a family, they have no interest in raiding it for goods or burning any other buildings.
When coming across the horses of their dead enemies, this small group of riders has no interest in taking them along as spares to join their other pack horses, despite no shortage of water or fodder.
In one soulful moment, we see a white character playing a primitive musical instrument, clearly meant to be of local relevance. It is, in fact, a kalimba, an African instrument that few Americans knew existed before the 1960s, and certainly nothing to do with the local indigenes.
When constructing a cairn (!) for one of the dead Cheyenne, the characters find suitable rocks in the grass of one of those endless meadows that hasn't seen a surface stone since the glaciers last paid a visit.
These are the sorts of things that throw you out of any story, whether in a book or a movie, and make you question your confidence in the storyteller.
But no matter… I wouldn't bother writing about the movie for things this small. No, this movie had much bigger problems.
You see, this movie had a message. And it was going to make sure that we heard that message, loud and clear.