Tuesday, January 21, 2014

The Value of Vulnerability: Book Marketing without B.S. #8

Book Marketing without B.S. is a weekly publicity and marketing advice column for writers and other creators who prefer a realistic, clear, and no-nonsense approach. My goal is to help you cut through the bullshit with direct, understandable advice you won't be embarrassed to follow. Send your questions to beverly@beverlybambury.com.

Today I retweeted a blog post by writer and Guardian columnist Damien G. Walter. It was called The DOs and DO NOTs of Getting Your Book Reviewed and in it was the kind of solid, realistic advice I appreciate (and have written many times before). The first thing he says is that you probably need to work on your craft and write something good. Write something better. It seems obvious, but so many authors and smaller publishers don't give the book enough time to go through plenty of editing and rewriting. (Well, sometimes the editing is lacking at the big houses lately, too, but the shrinking corporate reality of the big publishers is a blog post for another day.)

The second piece of general advice is this: "put yourself, as a writer, in the shoes of the people and publications who review books". Ah, yes. My old saw, empathy. Everyone's busy, everyone's inbox is overflowing, and of course we must not lose sight of the fact that reviews are not mere publicity tools, but information for readers (the consumers of your books). Walter also writes about having conversations, about engaging and being a part of the community of readers, writers, and super-fans.

By the time I finished reading, my impression was that the thread running through his advice is that of how important it is to be a real and social human being: don't spam, don't fake popularity (i.e. don't buy followers!), tell your story, share successes and failures. What does all of that sound like? To me it sounds like relationships. It sounds like human interaction.

In particular his advice to share both victories and defeats resonated with me. This was for two reasons. The first is that sharing in this way is a reflection of real and healthy human relationships. If you're with your friends, do you constantly chirp only your best news, neither listening nor sharing vulnerabilities? I certainly hope not, for your friends' sake if not yours!

The second reason relates to an experience I had during my recent talk at SFContario. Our energetic discussion arrived at the subject of how important contacts and relationships are in publicity. I candidly shared an experience I mentioned here in which I talk about the time I had to contact outside of my usual area, and how my rate of success had been much lower. I told the audience that the true lesson of the situation was in the humbling experience of realizing that I didn't have some magic in my query letters, just the more mundane reality of time spent on getting to know people and what they like, and building trusting relationships with them. Afterward, a few people told me that they appreciated my honesty, and that it helped them feel they could better trust my advice. While this was by no means a calculated move on my part, it illustrated yet again that the way you treat other people--the way you interact with them--makes a big difference.

You hear frequently that people don't want to be spammed, that they don't want you to just say "buy my book" over and over. Do you listen? Well, Walter's post is an example of a person telling you what they want, very clearly and concisely. Are you going to listen and examine your behaviour critically, or are you going to make excuses about why it doesn't apply to you?

My advice is to take a deep breath and remember that this is a long game. In our brave new world of publishing, your overnight success will take years, and--whether you like this or not--it will absolutely depend on two things: your attention to your craft and your ability to have real conversations with other human beings.


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Tuesday, January 7, 2014

Calls for Submission #3

Once again I bring you Selene MacLeod with Calls for Submission (CfS). You can see all of the CfS columns here. Enjoy, and Happy New Year! - Beverly

Happy New Year! I hope you had a joyous and wonderful holiday and are feeling productive. Myself, I like to hibernate during the winter months, but this year, there is too much going on.

First, a plea. Crossed Genres Magazine, a pro market and all-around cool e-mag, needs to sell subscriptions to keep going. Check them out here: http://crossedgenres.com. They've got several upcoming submission calls, so be sure to take a look at their guidelines while you're there. 

Pro Markets seeking submissions:

Fantasy & Science-Fiction. Special guest editor CC Finlay. No special theme for the July/August 2014 issue. Deadline January 14, 2014. Pro rates. http://ccfinlay.com/blog/guest-editing-fsf.html

Women Destroy Science Fiction! Lightspeed Magazine special issue. Looking for sci-fi stories by women authors for their June, 2014 issue. Max 7,500 words. Pro rates, deadline February 14, 2014. http://www.lightspeedmagazine.com/special-issues/women-destroy-sf/women-destroy-science-fiction-a-message-from-the-guest-editor/

Resurrection House. Seeking stories 1,000-7,000 words. Deadline March 13, 2014, to be published in the winter of 2015. Theme is XIII. The guidelines say they're looking for “transformative” stories of What Was and What Will Be.http://www.resurrectionhouse.com/2013/12/call-for-stories/

Eggplant Productions. Looking for fairy tales retold to feature POC, LGBT, disabled, and non- “Western” characters. Deadline April 30, 2014. Seeking stories for Spellbound, aimed at children 8-12 (max 2,500 words) and Spindles (max 5,000 words). Pays $0.05 per word, $1 per line for poetry. http://eggplantproductions.com/general-guidelines/guidelines-for-spellbound-spindles/

The Journal of Unlikely Cartography. Looking for stories with a “Cartography” theme (think maps, graphs, GPS, etc.). Max 5,000 words, pays $0.05 per word. Deadline February 1, 2014. Read guidelines carefully, as there are several calls on this page but only one is currently open. http://www.unlikely-story.com/fiction-submissions/

Two anthologies from Exile Editions (Michael Matheson): Start a Revolution: QUILTBAG Fiction Vying for Change. Reading period January 1, 2014-March 31, 2014. Looking for speculative stories 2k-10k, pays $0.05 per word. Theme is revolution and community building. This Patchwork Flesh. Seeking QUILTBAG horror (think Queer Fear Vol I and II). Prefer stories under 7,500 words. Pays $0.05 per word. Reading period open June 1-August 31, 2014 (so you have lots of time). Both anthologies will feature primarily Canadian writers. http://michaelmatheson.wordpress.com/start-a-revolution/

Semi-pro markets seeking submissions:

Third Flatiron Publishing. “Astronomical Odds” theme anthology. Looking for sci-fi/speculative stories 1,500-3,000 words. Pays $0.03 per word, deadline January 15, 2014.  http://www.thirdflatiron.com/liveSite/pages/submissions

Aercastle Narratives. Quarterly magazine. First issue (March 2014) deadline is February 1, 2014. 500-2,000 words, no restrictions on theme. Pays $0.02 per word. http://aercastle.com/submissions/


The Midnight Diner, who I listed last time around, has extended their open submissions call until the end of January. Seeking short fiction 3,000-6,000 words, pays $60. Also seeking artwork. http://www.themidnightdiner.com/submit-your-work/

New Myths. Quarterly, has specified reading periods. Next period: January 1-February 28, 2014. Looking for all types of speculative fiction (no graphic horror), max 10,000 words. Also looking for non-fiction and poetry (must deal with some aspect of sci-fi or fantasy). Pays $50 for short stories and non-fiction articles, $20 for poetry or flash fiction (under 1000 words). http://www.newmyths.com

SubTerrain. Literary market, but magical realism/slipstream would probably work. Max 3,000 words, deadline February 1, 2014. Postal submissions ONLY. Pays $50 per page. Theme is “Coincidence.” Publishes 3x/year, so there are other upcoming deadlines on the site. http://subterrain.ca/about/35/sub-terrain-writer-s-guidelines

Token and royalty-paying markets seeking submissions:

Grinning Skull Press Little Monsters: Horror for Kids, by Kids. Seeking horror stories by young writers (age 5-12). Subject matter is open but G-rated. Deadline June 30, 2014. Pays a $25 gift card. 500-3,000 words, deadline June 30, 2014. Note: Grinning Skull also has an open call for a charity anthology of Christmas-theme horror stories, and an annual unthemed horror anthology. http://www.grinningskullpress.com/Submissions-Guidelines.html

Blank Fiction. Looking for noir stories for their second issue. Deadline January 15, 2014. Pays an honourarium of $50. Also looking for sci-fi stories for their third issue, deadline not yet determined. Stories must be under 15,000 words. http://blankfictionmag.com/submissions/

Angelic Knight Press. That Hoodoo, That Voodoo That You Do. Anthology of dark ritual themed stories, edited by Lincoln Crisler. Max 5,000 words. Pays royalties, reading period January 1-June 1, 2014.  http://lincolncrisler.info/?page_id=1870

Contests:

The 2014 Jim Baen Memorial Writing Contest. Looking for sci-fi stories set in the near future (50-60 years), max 8,000 words. No entry fee, deadline is February 1, 2014. First prize is publication (pro payment), a cool award and swag. http://www.williamledbetter.com/contest.htm

The Carter V. Cooper – Exile Short Fiction Competition. Deadline March 10, 2014. Postal submissions. Entry fee $30. Sponsored by Gloria Vanderbilt in her son's memory. $10,000 in the emerging writer category and $5,000 in the senior writer category. Max 10,000 words (30 pages). No restrictions on subject matter and style. Finalists will be published in CVC Short Fiction Anthology Book Three. http://www.theexilewriters.com/poetry-and-fiction-competitions/ 

The Fifth Annual Gemini Magazine Short Story Contest. Entry fee $5 (per story). Grand prize is $1,000 Deadline March 31, 2014. No restrictions on style, content, genre, length. http://www.gemini-magazine.com/contest.html

The Eckleburg Review Franz Kafka Award in Magical Realism. Entry fee $10, max 8,000 words, deadline July 1, 2014. Prize is $1,000. http://thedoctortjeckleburgreview.com/bookstore/product/franz-kafka-award-in-magic-realism/


Sunday, December 22, 2013

Amazon Exclusivity and KDP Select: Book Marketing without B.S. #7

Book Marketing without B.S. is a weekly publicity and marketing advice column for writers and other creators who prefer a realistic, clear, and no-nonsense approach. My goal is to help you cut through the bullshit with direct, understandable advice you won't be embarrassed to follow. Send your questions to beverly@beverlybambury.com.

Once I began working independently of a publisher, I ran into an issue that I hadn’t dealt with before: exclusivity with Amazon's Kindle Direct Publishing (KDP) Select program. From a publicity perspective I found it frustrating, as I have contacts affiliated with other book-buying outlets and I am unable to call on them in exclusivity situations. Why would they help with a book they can’t sell, after all? Still, I know it is more complicated than that, so here are some thoughts. I hope you'll share yours, too.

I want to make clear that I have no problem with authors and publishers who choose to use the KDP Select program. I understand why. What I am bothered by is Amazon's program itself. Since people make a large percentage of sales through Amazon, they’re often going to be tempted by the higher royalty rate, or rather, seek to avoid the punishment of the 35% royalty rate. There are other benefits as well, such as five days of being able to offer your ebook for free download (though Amazon has nerfed the impact of that  by changing the visibility of the top free books list) and members' books are available for free borrowing by Amazon Prime members, which may net more reviews and definitely nets a share of money.

In a fascinating article by Eoin Purcell,  he compares KDP Select's desire for exclusive content to Netflix’s production of exclusive content. The point that sticks out the most to me is that it reduces user churn. In other words, Netflix wants to keep its current viewers as much—if not more—than it wants to attract new ones. It does this in part by producing and purchasing content that only appears on Netflix. Netflix then promotes this content and funnels it to viewers' eyeballs.

While we have no direct evidence of this one way or another, it makes a lot of sense that Amazon may be trying to do something similar. It wants to keep people paying for Amazon Prime membership, and one of those benefits is free borrowing of ebooks exclusive to Amazon Kindle. It’s no-overhead income for Amazon. Indeed, retaining subscribers is a big moneymaker for pretty much anyone who does subscriptions. While Purcell contends that Amazon is getting this exclusive content without paying for it, I’d argue that it's paying for it with higher royalty rates. Still, they’re not paying publishers and authors what they probably should be given the extent of the benefit to Amazon, and given that all the work of writing, editing, layout, marketing, advertising, and publicity falls squarely on the creators and publishers.

Purcell raises another interesting point when he says that Amazon also gets to see how self-published authors sell during this exclusivity period, which gives them an edge in possibly offering publishing contracts for Amazon Publishing, and of course scads of general sales and marketing data, all paid for (in many ways) by publishers and writers.

One thing that was previously difficult for creators and publishers to control was the timing of promotional pricing. It was hard to predict exactly when it would kick in. Now Amazon has introduced Kindle Countdown, which lets one set parameters of timing. But, naturally, one has to sign up for KDP Select to use it, creating yet more pressure for exclusivity, when someone really ought to be able to schedule the dates and pricing anyway.

How big is the benefit to creators? Many argue that it’s not worth the exclusivity to limit yourself. I myself don’t have any experience that is definitive one way or another. Two publishers I’ve worked with prefer to go this route, but others don’t. I can't argue with the ones who like it when they feel they get a consistent benefit from it, after all. Still, both publishers are fairly young and neither had large marketing and publicity campaigns (of which I am aware, anyway!) prior to doing the exclusive arrangement.

This piece by Jane Litte over at Dear Author raises a really good point that gets to one of the reasons I feel uncomfortable with exclusivity. It starts to feel (to me, not in Litte’s words) a bit like the “company store” phenomenon. What Litte does say is that it can be dangerous because with all your eggs in one basket, what happens if the bottom drops out of the basket? Remember when Amazon removed lots of erotica? What if they come for what you write next for some reason? I know that’s a long shot, but exclusivity gives them complete control over that if they choose to exercise it. What if they decide to change terms in some other legally-covered way? You’ve undoubtedly agreed to a host of terms and conditions when you go with KDP Select, and Litte points out that Amazon changes terms at other times writing, “Just recently they increased the amount you have to buy in order to get free shipping from $25 to $35.” Do you fully understand what you signed when you joined KDP Select?

She also argues that exclusivity harms readers, too. Litte says that by reducing or eliminating competition, some of the drive for innovation—and thus perks for customers—disappears. If Amazon has no competition, they don’t need to win your business. They’ll be the only game in town, then we’re back to the company store of books. Again, though, I can’t blame people for doing it. When most of your sales come from Amazon, and Amazon sweetens the deal, then what’s a struggling small publisher or self-publisher to do?

In any case, many people have looked at this more closely than I have, and authors have generously written about their experiences. You can read, in addition to the above, the below interesting posts, and I am certain that a quick search will net more.


To sum up, on a purely theoretical basis I encourage people not to use Amazon’s KDP Select/exclusivity; but, in the pragmatic sense, I understand why people use it, and I still gladly work with publishers who are part of the program. We all have to work with the resources at hand, and when money is tight (and when isn’t money tight for a small publisher?) then we take what we can.

I am really interested in your experiences and I can even do a follow-up post about what readers are willing to share. Contact me at beverly@beverlybambury.com if you want to discuss your KDP Select experiences. I imagine there is a wealth of experience out there!

Keep those questions coming, and sign up to get my posts sent directly to your email by clicking here. Thank you once again for your continued support.

Remember, I am on blog hiatus until the second week of January. Happy New Year, everyone!