Just recently, indie author and artist Cedar Sanderson put together two anthologies of hunting stories, non-fiction and fiction. She has graciously included Night Hunt as an entry in the second volume (The Deer Shot Back). The stories are fun reads, focused on the humor and mishaps of the hunting life.
Hold onto your hats… this is gonna be a wild ride.
Miranda Devine, author of a book exposing Hunter Biden's laptop contents, discovered that a complete counterfeit of her book — cover and all — had been listed for sale on Amazon and had, as a counterfeit, apparently reached #9 as a paperback bestseller in its genre.
It's not clear when she discovered it (the internal evidence of the articles suggests 11/30), but this article covers the issue as of 12/3/2021. To add insult to injury, the counterfeit claims a publication date one day earlier than the real book. It also states that it was released one day before the official version, contains 124 pages, compared to 224 in the real version, and is “independently published,” as opposed to being published through the Post Hill Press.
What are barcodes and how are they used?
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.
I use a UK company for this: https://www.free-barcode-generator.net/ean-13/.
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.
On the writing front, I'm just about done with the Fragments of Lightning, the second book of The Affinities of Magic. The webpages will be updated when the final scene is written and I have time to do the book description, images, and so forth. I plan on writing the third book, and starting the fourth before I begin releasing them in quick succession, starting circa December/January.
As I've mentioned elsewhere, I'm also beginning to publish the works of some colleagues of mine and tooling up as a small publisher. This means, in several cases, the creation of new imprints, since the works aren't necessarily appropriate for Perkunas Press, not being fantasy or science fiction. Last fall saw the first release for Bent Twig Books, a memoir My Bipolar Life.
Right now, I'm working simultaneously on publishing two works. One is a bit of Christian visionary fiction for Sound the Trumpet Press, called Comes a Redeemer, by Tolkien scholar Jared Lobdell. And the other is a work by the great naturalist writer, Steve Bodio for Behind the Ranges Press — his first novel, Tiger Country.
In each case, these three works are the first for their imprints, so there's very little information for the imprints and, in the latter two cases, the book pages are under construction pending release. But you can take a look at the draft covers (mockups), and there will be more to tell you as each book is published this year.
A presentation for The Inkwell,
a gathering of writers from Pennwriters.org.
I’m a writer of fantasy and science fiction stories. I wrote and published my first novel in 2012, and I currently have 9 novels in 3 series, short stories, and book bundles – 23 titles now, with 3 more novels expected for 2018.
I have always been a self-publisher – what is known as an “independent author” (indie) – and wouldn’t dream of mortgaging my ordinary rights to an agent or traditional publisher. I publish in ebook, print, and audiobook, and I’ve just commissioned my first translation. My books are published worldwide through dozens of retailers and a handful of distributors. You can find my books online anywhere.
I’m just an ordinary author with an ordinary following in my genre, making ordinary proceeds – not any sort of superstar or major bestseller. I started this business while I was employed full-time, and now I’m retired and able to devote more time to it.
Books as manufactured goods
You can take 200 of your family’s recipes, do them up in a word processor, and take the file to your local book-printer and have them run up 100 bound copies for you to sell or give away to friends and family.
Church groups do something like this all the time, to raise money. Corporations publish their annual reports in glossy hardbound editions for handouts at meetings.
Your collection of recipes — that’s a book. But it’s not part of the book trade. No one can order it online. It’s not in any bookstore (unless your local shop decides to take a few on consignment and add them to the “local region” section, because you asked them to.) It doesn’t have an ISBN number, that fundamental identifier that distinguishes one book from every other book in the world and lets it be ordered from anywhere.
This is not what we mean by “self-publishing.”
Vanity publishers, like the notorious Author Solutions, are predatory organizations that take advantage of would-be authors. They make their money by selling services, including unnecessary ones, at tremendous markups, upselling as many of their service offerings as possible, and then producing some form of book product, often badly-edited, poorly formatted, and ill-covered, distributed somewhere obscure.
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.
- 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
KarenMyersAuthor 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.
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 – 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 – 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.
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.