Showing posts with label pod publishing. Show all posts
Showing posts with label pod publishing. Show all posts

Tuesday, February 26, 2013

Cover Story - No More Bad Covers

My reaction to a horrible book cover.It has been a long standing tradition of independent publishing that lousy book covers were the norm. So many authors shunned investing any money in their covers that they doomed themselves to ridicule (at best) or obscurity. While it might not necessarily be prudent to judge a book by its cover, all too often it was a safe bet that a crappy cover meant crappy writing. Potential readers chuckled and moved on.

In defense of the mass of indie authors who chose low quality covers, the big stumbling block to a quality cover was price. Spending five hundred to a thousand dollars on a cover for a book that would be exceptionally lucky to earn $100 for the author was an investment most chose not to make. When I scored a cover for my novel for $200, I was psyched. But I'm here to tell you today that everyone can have a professional looking cover for $200 or even much less.

I was relating my tale of book cover design woe (which I'll share in a later post) with my friend and fellow indie author, Terry Green, the other day. She informed me that there's a group of illustrators who are targeting the hordes of indie authors with inexpensive covers. The trick is for the book cover designers to whip up a mock book cover which they will then turn around and sell to the first author to throw money down. Of course, the cover has to match your story. It would really be inappropriate to slap a scantily clad woman's ass on the cover of your "Dirty Dozen in space" novel, but someone's going to do it because sex sells.

Neither Terry nor I have worked with any of these designers, nor are we endorsing them. But when an indie author can get a cover for their book for less than $50, how can he/she pass it up. Without further ado, here's the list: Indie authors no longer have excuses for bad covers. And with the money you save, you can hire an editor to proofread your work.

Thanks again to Terry Green for sharing these links with me (and now our blog readers).

\_/
DED

Monday, October 25, 2010

Lulu Makes A Big Mistake

I received the following email over the weekend from Lulu:

Get your book on the iBookstore with our eBook Conversion Service

Get your book on the iPad (TM) and other eReaders

eBook Conversion Services

Lulu now offers eBook conversion services to take your book into the future. Get your book ready for the iBookstore*, the iPad and other eReaders with our ePub conversion service. Based on your page size, please select the appropriate service.

ePub Conversion Services
250 pages or less: $99
251-500 pages: $199
501-750 pages: $299

This is a service that Amazon and Smashwords provide for FREE.

Why is Lulu doing this? Are they trying to recoup the investment made to create or license the software? Are they completely ignorant of what Smashwords is doing here? Or even Amazon? Or are they hoping that authors are?

When I first looked to self-publish my novel, Armistice Day, the only option I had was to go with a vanity press. Not wishing to spend thousands of dollars on printing costs (I'd already spent plenty on editing), I chose to wait. Then along came Lulu with its zero start up costs. They made their money as copies of each book were printed and sold. All in all, I was happy with them.

A year later, I'm not so happy. While I've been fortunate not to have any quality issues, I've discovered that their book production costs make it difficult for a nobody like myself to sell copies at a competitive price. My research has determined that $15 is too high. I've had success with a $10 price point as it is only slightly higher than mass market paperbacks. Unfortunately, my per unit cost with shipping is around $11/book.

Now Lulu wants to up their presence in the hot ebook market. But they're forgetting that the reason why ebooks are hot is that they're cheap. Charging a hundred dollars and up for the service when most indie ebooks sell for $2.99 means that an author will need to sell a lot of copies just to break even. But since Smashwords and Amazon don't charge a thing, I think that this is a serious mistake. For me, it's further evidence that a formerly good company for independent authors has failed to adjust to the changing publishing climate.

Wednesday, September 15, 2010

The Smashwords Conveyor Belt


It has been a while since I have sampled the treasures of Smashwords as they arrive hot off the server. Once again, I am looking at the book-length literary fiction offerings available today, September 15. I mainly read the samples, which are often generous, but if I really love a book, I buy it. I am skipping thrillers and any other genres I feel would be better judged by another member of the staff.

First up is G. K. Ingersoll's The Atheist Vignettes. This is a mostly well-written pastiche of pieces about people, mostly former members of a group called Chris†eens, who are confronting their doubts about faith as they enter middle age. We are treated to sections of a play interspersed with vignettes (naturally) of characters in various states of dogmatic compliance/anxiety interacting with one another. The dialog seems very sharp and realistic; the only problem is with the play excerpt at the beginning, featuring a dialog between God and Satan. The name of the speaker does not begin every line, so the reader is constantly referring back to the top of the page and counting downward “God, Satan, God, Satan...” to the line in question. There are also a few syntactical errors, but overall it looks like an interesting read.


Next, we have three offerings from the mysterious “Dorian Taylor.” Is he real? Is he alive? Is he dead? The preface of each work only hints.

I will start with Modern Problems. We are told of an author using the pseudonym “Dorian Taylor,” an artist plagued by anomie who just cannot get it together to find a market for his writing. The book is a pastiche of narratives, beginning with a poem. I think Taylor has a story to tell, but first he has to fix the errors and the derivative style. I'm sure he can come up with a more interesting description of a dancer than comparing her to Terpsichore:

“From all that he could conger up in his mind in later years, all that really presented itself to his memory were Jamie's legs…”

“Standing still she was a homely little girl from Nebraska, in motion she was Terpsichore, the Goddess of the dance, and she came from Mount Olympus.

“There is or maybe was, a bar off of Washington Square, situated in the basement. It had chess boards painted on it's tables, and the chief reason for going there was to discuss philosophy, or literature, or maybe play a game of chess, while sipping the French liquid fire called Pernod” (italics mine)…


Top 40 is a book that uses old (and I mean OLD) pop tunes as chapter headings in stories about the author as a “man out of time.” Being old myself, I can relate. I didn't get through enough of the sample to see if he actually used Joni Mitchell's “Urge for Going,” but it's what comes to mind. The image of the rambling man who “marches to a different drummer” or “hears the call of the road,” or (if I ever write my own song) “is too narcissistic to commit to anyone” is very prominent. I'm hoping it was a satirical treatment, but when he misspelled “Iliad” I couldn't go on.




Billed as “Georgette Heyer meets the Marquis De Sade,” Taylor's Volatile Elements makes for more interesting reading. It is about a very wealthy man who owns vineyards and other revenue-producing ventures, a man who came by his money in a very unfortunate way that I wish Taylor had elaborated much more upon. He meets up with a long-lost girlfriend, and we are treated to multiple points of view, as well as lots of steamy sex. I think Taylor's characters become much more interesting when they are making love rather than soliloquizing. This seems to be the most mature of the works.

UPDATE: We think this has been republished as The Gaze of the Abyss.


Elder Wonder Comes of AgeElder Wonder Comes of Age is a book about horny Mormons. It's very funny. It's Mormon practice to send their young eighteen-year-old men to do two years of missionary work. They can have only limited contact with family and friends while on a mission. The protagonist, Jerry Wonder, already has one strike against him: he's a vegetarian. Also, as most eighteen-year-old humans, he's constantly thinking about sex. He is sent to New Zealand, where, under the very watchful eye of a senior elder, he goes out proselytizing with other horny teens. It is the early 1960's, and everybody is worried about what direction the Cold War will take. They get a mixed reception in New Zealand; their hard-sell tactics anger many people. As a Jew (Jews don't seek converts), I found it unnerving to read about Jerry's partner lying to an elderly Jewish woman, telling her they were sent by her Rabbi to visit her. Jerry refuses to back up the other missionary's faith statements. Meanwhile, his girlfriend has taken a job as a stewardess so she can see him in New Zealand. I may have to buy this one…

Saturday, January 31, 2009

Fear of Pollution

In response to the recently posted "Self-Publishers Flourish as Writers Pay the Tab" NYT article, why do I feel like the elite lads are complaining their exclusive club isn't so exclusive anymore? I get a slight sense of impending doom from Motoko Rich, as if the Published Authors Club isn't feeling as important as it once did when an author was either published or unpublished—not this in-between DIY nonsense where everyone has a voice and is using it (for better or for worse). I'm not knocking traditional publishers. Their editors are (mostly) impeccable, their market penetration is very nearly absolute, and (the majority of) their authors have proved their worth repeatedly. But they can be a tad whiny at times. Especially when someone forms their own club across the way.

The lines have become blurred, and I get the feeling the Published Authors Club is yearning for a simpler time. As if, twenty years from now, walking into a bookstore—once the pristine promenade of the literary elite—will yield a barrage of printed blogs and hardbound diaries. And that’s what this is about, isn’t it? The possibility that the bright lights of the elite will one day be drowned out by those of everyone else. But is that really a possibility? As far as mainstream publishing is concerned, the odds really haven't changed (though the way we go about trying to beat those odds has). Random House's buying habits remain fixed. They’ll continue to look after their own, acquiring new members via referral (what’s a slush pile?) and meeting regularly with booksellers to ask, “We’re still best friends, right?”

I smell fear. We're becoming more visible, and it’s ruffling some feathers. In times past, just like now, everyone had a story, a book, a play in them, but you never heard about it unless you lived in the same town as the author. Blogs and the Internet have made everyone’s business your own. Who doesn’t have a blog? If I subscribed to each and every one, I'd be dead before I finished reading a fraction of what’s out there. There have always been too many writers writing, and not enough readers reading. I was an editor once; there were always more stories coming in than I was willing or able to publish. Sometimes it was because of poor grammar and punctuation. Or maybe the idea was horribly cliche. Or the writing was just plain awkward. Or else everything was great and I simply had no more free space. Regardless, I never feared "pollution" of my precious ’zine because I knew what I liked to publish, and that was that. Authors who received a rejection letter told me off and went on to have their stories posted elsewhere.

I get the feeling mainstream publishers are worried there’s too much garbage out there for prospective readers to sift through. Pollution. The elites are feeling a mite insignificant. Being published isn’t a big deal anymore because anyone can be published. Perhaps not successful, but published nonetheless. Club members are no doubt worried that as the prestige diminishes, so do the hefty advances. They’re fretting over the possibly of having to do what the rest of us do: market our own work. We’re selling through our Web sites instead of via store shelves. We’re reaching smaller audiences, but taking in higher percentages per unit. And, yes, we’re putting out a lot of noise.

Circle of life. Variety with the risk of obscurity. The midlist being reborn as the POD and self-publishing movement. The demoting of the elites by a notch or two. The publishing industry continuing to invalidate its competition. But we'll find a way to tell our stories. We always do.