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Category: Publishing

Returning to my writing (yay!)

Posted in A Writer's Desk, Goals, Publishing, and Structures of Earth

After my long prior post about all the learning curves for reaching my next marketing plateau, I'm finally (almost) done and have picked up my latest book (Structures of Earth) and poured another 55000 words into it, just in the last month, and finished it. I've missed it badly!

I'm just starting book 2, Fragments of Lightning. I plan to complete the first three books before releasing any of them, and have the fourth one almost done. The first book, Structures of Earth, is a prequel that takes place five years before Fragments of Lightning, while the hero is still a teenager. I expect to write quite a few books in this series, each of them complete, like a detective series. The release(s) of the first few books should happen in the Spring of 2018, one right after another.

The remnants of my 2017 plans

 

Republishing all titles

I've finished cutting over to ActiveCampaign from MailChimp, and created suitable landing pages on my websites for newsletter signups from various locations.

Image of a stack of booksThat was the last thing I needed before updating all my titles (20 of them) with:

  • Misc. accumulated typo corrections
  • Longer next-book sample excerpts
  • Updated contact info
  • Updated newsletter info
  • UTM-wrapped links to other books & my websites for Google Analytics
  • Better TOC & metadata info inside the books
  • Larger cover images
  • Improved copyright pages

No one item is important enough, but with all of that I felt it was time to finally refresh all 20 titles, ebooks & print. I even moved from Ingram LSI to Spark for various discount coupon situations in the future as part of it. With any luck, I won't need to revise these particular titles ever again.

Associated with that was getting a copy of ONIXEDIT so that I could use the same distribution tools (ONIX) used by traditional publishers with their channel partners. It is of limited immediate use (only for my PublishDrive and StreetLib partners) but just going through the process was immensely educational about the metadata and channel communications issues that go on behind the scenes in the industry. I'm ready to start transmitting using ONIX to these partners very soon.

The newly branded website just for readers

Image of a fantasy landscapeKarenMyersAuthor is up, and so are its related Facebook & Twitter pages, but I haven't produced content yet, and so I haven't announced it. I need to start getting active there.

Release Announcement – SciFi story bundles from There’s a Sword for That

Posted in Adaptability, Monsters, Monsters, And More, Release, Science Fiction - Short Stories, The Visitor, The Visitor, And More, There's a Sword for That, and Your Every Wish

I'm working on a scifi story collection called There's a Sword for That (using a fantasy motif in a scifi context — just for the fun of it). The tales come out of a weapons shop on a space station, which you can see on the cover.

The collection won't be ready for a while, so I've released a couple of two-story bundles in the meantime, for your amusement.


Monsters, And More — A Science Fiction Story Bundle

Monsters – Xenoarchaeologist Vartan has promised his young daughter Liza one of the many enigmatic lamedh objects that litter the site of a vanished alien civilization.

No one can figure out what they're good for, but Liza finds a use for one.

Adaptability – The Webster Marble Deluxe Woodsman, Model 820-E, has been offline for quite some time. Quite some time indeed.

Good thing Webster has a manual to consult, and a great many special functions.


The Visitor, And More — A Science Fiction Story Bundle

The Visitor – Felockati is anchored to his permanent location underwater and misses the days of roaming his ocean world freely.

But something new drops out of the sky and widens his horizons — all the way to the stars.

Your Every Wish – Stealing the alien ambassador's dagger is a sure thing for Pete — just what he needs to pay off his debts.

Until he starts talking to it. There has to be a way to get something for himself out of the deal. Has to be.

The Visitor was previous published in Strange Horizons.

Book Metadata, ONIX, and Digital Asset Management (DAM) systems

Posted in Distribution, and Just for Writers

Book Metadata

Maintaining the metadata for your books can be quite a chore. Joel Friedlander's overview covers some of the basics.

It takes me two pages of my multi-page management spreadsheet to hold the simple columnar data (ISBNs, Library of Congress (LoC) numbers, publication dates, page counts, etc.) and textual data (blurbs in various lengths, keywords, BISAC codes, etc.). Some of that data is static, but parts of it are changeable based on marketing experiments, temporary sales, and so forth.

When we go to a distributor site that caters to indies, we are usually presented with a form to fill out for each book. Since I strive for consistency, I always have to open up the form for a book I've already posted to that distributor, to make sure I fill out all the questions the same way across all my titles.

How do the big boys handle this?

Well, that's a question, isn't it? It's hard to get the details. The big traditional publishers have complex internal needs (moving a title from acquisition through edit, formatting, marketing, publication) involving different departments and requirements, and their management systems are crafted with that in mind to give them a shareable single complex record for the title that holds both in-house private data and public data intended for use with their trading partners (distributors, retailers, etc.)

The output of their systems these days tends to be in the form of ONIX records (see below) — this much I know. But exactly how they share those records with their partners is obscure to me. (Alas, trad-published authors who've added indie-publishing share insights with us, but we don't meet a lot of back-office technical types from the traditional publishing firms.) You can see how vague the specific details are for an overview on metadata maintenance that's meant to be helpful, or for a discussion about refreshing metadata as things change.

The big traditional publishers have much more complicated problems. As indies or micro-publishers, we get to choose what we want to deal with, and some of the industry tools are available for us to use, if we think it's important enough.

Release Announcement — Second Sight, a science fiction short story

Posted in Release, Science Fiction, and Second Sight

I have a few scifi short stories lined up for release, and here's the first one — Second Sight, a story about unintended consequences.

BORROWING SOMEONE ELSE’S PERCEPTIONS FOR A POPULAR DEVICE CAN ONLY MEAN COMMERCIAL SUCCESS. RIGHT?

Samar Dix, the inventor of the popular DixOcular replacement eyes with their numerous enhancements, has run out of ideas and needs another hit. Engaging a visionary painter to create the first in a series of Artist models promises to yield an entirely new way of looking at his world.

But looking through another’s eyes isn’t quite as simple as he thinks, and no amount of tweaking will yield entirely predictable, or safe, results.

 


More information, including links to retailers.

Checking up on book distributors

Posted in Distribution, and Just for Writers

So, you've gone wide and international with your ebook distribution, and your print edition is in Ingram's database, making it available to a fair chunk of the world's bookstores, both physical and online. Your dashboards that list your titles with your various distributors all look fine and dandy. You given them your books, and they're making sure they're getting into the world's bookstores.

Time to sit back, proud of your books' availability in online stores all over the world, right?

If only it were that simple.

How are my distributors doing?

It’s not easy to figure that out.

I've been trying to sort out my various distribution options recently as I retire a couple of distributors and take on new ones. It's a confusing area, and the lists you can get of their channel partners are not always current or complete. I was focused on who had the best reach, or reached unique retailers, with reasonable returns and the ability to turn channels on and off to avoid duplication.

I get to retailers in a variety of ways.

Ebooks

  • Direct from my website (ecommerce). Gumroad (in several formats).
  • Direct upload. Amazon, Kobo, Barnes & Noble. If I could (no Mac), this would include Apple iBooks.
  • Hybrid (storefront & distribution). Smashwords.
  • Distributor. PublishDrive, Streetlib (coming soon).

Of these, I use PublishDrive to reach every channel (including Apple iBooks and Google Play) that I don't go to directly. I restrict Smashwords to its storefront and its unique partners only. PublishDrive, Streetlib, and Smashwords all let you select or disable individual partner channels to avoid overlap.

Already there are complications — Kobo is also a distributor, so though I go there directly, it distributes my titles to its own partners. There is no ability to pick and choose among Kobo's partners, so it's up to me to avoid enabling one of Kobo's partners at one of my other distributors. (Perhaps that can be controlled at the manual level, via email requests to Kobo, but I prefer something more automated and reliable.)

Other complications — I have to manually request special retail pricing for Google Play, to keep its automated discounting from creating a problem with Amazon. Hard to find distributors that will let you set per-channel pricing, but I think that must be essential to adjust pricing in different parts of the world (like India).

Audio

  • Distributor. AuthorsRepublic.
  • Direct upload. CD Baby (coming soon).

Print

  • Hybrid (storefront & limited distribution). Createspace. (Not expanded distribution.)
  • Distributor. Ingram LSI.

Createspace only distributes to Amazon so there are no channels to disable to avoid duplication. Ingram can't provide a list of print partners — much too broad, and much of its reach is through intermediate distributors or aggregators. No telling where your books will end up at online retailers.

Where are your books, really?

I began by taking the lists of known channel partners from PublishDrive, Smashwords, Kobo, and AuthorsRepublic. I then went to each of those sites and tried to find my books there. That alone was an eye-opener.

What happens to my metadata when it leaves the house?

Posted in Distribution, Just for Writers, and Publishing

That's the title of an excellent if brief essay by Laura Dawson of Numerical Gurus. Her site is an excellent resource for the explanations and history of some of the acronyms that haunt the world of books.

Since I seem to be on a kick lately with what metadata exists and how it sloshes around through the book ecosystem, I thought we could all benefit.

How many of those girls are properly dressed (um, properly formatted data)? And how can you keep them clean, out there in the big ol' world? Where there are boys, and parties, and fast cars, and lots of dark alleys to wander into.

We've all seen it. We spend time perfecting the metadata in our feeds, send it out to our trading partners, and had to take complaints from agents, authors, and editors. “Why is it like that on Amazon?”

The truth is, data ingestion happens on whatever schedule a given organization has decided to adhere to. Proprietary data gets added. Not all the data you send gets used. Data points get mapped. So what appears on any trading partner's system may well differ somewhat from what you’ve sent out. There are so many different players in the metadata arena that can affect what a book record looks like. When you send your information to Bowker, they add proprietary categories, massage author and series names, add their own descriptions, append reviews from sources they license – and send out THAT information to retailers and libraries. The same thing happens at Ingram, at Baker & Taylor – so what appears on a book product page is a mishmash of data from a wide variety of sources, not just you.

What does your book look like to booksellers?

Posted in Distribution, Just for Writers, and Publishing

Print on Demand (POD) (versus short-run print jobs) is the typical method used initially by indie authors, and the two big providers are Createspace (owned by Amazon) and Ingram, either via Ingram LSI (Lightning Source) or IngramSpark.

The merits of Createspace vs Ingram is a common discussion topic among indie authors who produce paperback editions. This post is an update of this analysis and focuses on what your books look like to booksellers placing orders with Ingram.

The recommended practice these days is to use both vendors for print, if you can: Createspace (without their expanded distribution option) for Amazon, for inexpensive orders for inventory, for an online store, and for direct shipping; and Ingram for everything else. (The recent news about availability of print from Amazon KDP seems to signal that access to Createspace directly might change.)

Some authors create a separate Library edition, just to use that part of Createspace's expanded distribution with a Createspace ISBN.

If you don't want to go to the bother (and the expense) of getting your own ISBN (a whole separate discussion) Createspace will supply you with an ISBN owned by Createspace for you to use, for free. (If you have an ISBN, you can use your own.)

Since the common progression for indies seems to be to start with Createspace only, and Createspace has an expanded distribution option and a free ISBN that gets your books into Ingram (“Booksellers and Online Retailers”), the question often comes up: why bother going to Ingram directly?

Why go to Ingram directly, in addition to Createspace?

The manufactured products are slightly different (quality issues with a small and debatable preference given to Ingram), and unlike Createspace, the Ingram edition costs money: a title setup fee (circa $49), an annual market fee (to stay listed in Ingram's database) ($12), and a revision fee for any change in cover or content ($40 each). The fee details vary a bit between Ingram LSI (mostly for traditional publishers) and IngramSpark (mostly for indies) and coupons/discounts are not infrequently available.

And you need your own ISBN, a not-inconsiderable expense in the US.

But there are other concerns.

Bookseller-specific issues

1) Discounts

A bookstore with good credit and broad needs may use Ingram as its main supplier. Other bookstores use smaller, more targeted suppliers who get their list of offerings from Ingram (and charge a fee).

Ingram allows you to set the same standard discount that traditional publishers use: 55%. Createspace's maximum is 40%.

Here's what that means. Ingram takes 15% of that discount for its services. It subtracts that from the books you list directly with Ingram, but it also subtracts that from the books it lists that were given to it by Createspce via expanded distribution.

So at 55% (Ingram's standard), minus Ingram's 15%, there remains 40%. Some of that may go to an intermediate distributor. Whatever's left over is the bookseller's potential profit, which he may discount to push sales.

At 40% (Createspace's max), once you subtract Ingram's fee of 15%, all that's left is 25% for the intermediate distributor(s) and bookseller to share. That is unattractive to many booksellers. Some won't even order books to fulfill customer requests at that small a profit to themselves.

2) Free ISBN / Publisher name

Createspace offers its own ISBN, if you don't have or want to use one of your own.

The general rule is: whoever owns the ISBN is the Publisher, from the perspective of forms and databases. Some recent forms have separated the two things, so that the owner of the ISBN and the “Publisher of record” and the provider of the data feed on a form can be different things, but that is far from general.

For a while, the Createspace data downstream showed Publisher = Createspace, even if you used your own ISBN. Now that only happens if you use a Createspace ISBN. And even so, what shows on a form depends on what the form uses for data sources: if it shows ISBN and looks up the ISBN, then it would get the ISBN owner. If it simply assumes the supplier of the data feed (Createspace) is the owner, then it shows Createspace as the publisher. That's how audiobooks often show up as Publisher = AudiobookFeedProvider even when the ISBN belongs to the Publisher.

How booksellers see a traditionally published book when they order from Ingram

Looking for a tune

Posted in Audiobook, Tales of Annwn, and Under the Bough

That's usually a topic for my fiddling website, but not this time.

This year I'm planning to do several of my audio books. That includes the stories from Tales of Annwn, and one of those (Under the Bough) includes a song.

I better come up with a tune for it. Oops.

It's a rollicking drunks-at-the-wedding sort of ditty. If any readers would care to make suggestions, I'll be glad to consider them before rolling my own, and give you a credit in the audiobook. Welsh or general Celtic styling is what I have in mind.


What did she see in him?
Who could explain?
Another full glass,
And we’ll not mind the pain.
Pain, no pain,
Again and again,
Another full glass,
And we’ll not mind the pain.

Over and under him,
Country or town,
Give us one more
And we’ll drink it right down.
Down, down,
Away with her gown.
Give us one more
And we’ll drink it right down.

Lift up your glasses,
And do what is right.
Wish them the best,
Of both day and of night.
Night, night,
An inspiring sight,
Wish them the best,
Of both day and of night.