In my previous post, I openly questioned the effectiveness of radio interviews. To recap:
I was invited to La Crosse Wisconsin to do a library event and a signing at Waldenbooks. The wonderful Terri Schlichenmeyer (rhymes with chickenwire) was able to wrangle three radio itnerviews for me, as well as promote the event on the radio herself. I appeared on four local stations, some of them several times, for three days prior to the event. I was funny, while managing to explain my books and when and where I'd be signing.
La Crosse is a town of about 60,000. How much of that population heard the show, and how many came to my events?
When the day was done, and the numbers had been tallied, the answer was clear:
1
That's one. Uno. Eins. Un.
I did well at the event anyway. I was at the library for 3 1/2 hours and met everyone who walked into the store, which resulted in 44 books sold. Not bad. But only one of those folks came because they heard me on the radio.
"You were really funny," she told me, "so I came by to get your books." She did buy them both, so about 5% of my sales that day were the result of my radio efforts.
Still, it was pretty enlightening. I walked into the store with visions on long lines and excited fans. Reality is a harsh mistress.
At the library event, I had a lovely chat with two librarians, over the large plate of cookies they bought in anticipation of the huge crowd. They apoloigzed for no one showing up. I apologized for no one showing up. They bought a book out of pity.
Afterward, I called up Barry Eisler, because we like to share marketing info, and I asked him about the effectiveness of media in getting people to events. He shared a story of being on a morning TV show in Portland, speaking eloquently, showing his book jacket, touting his upcoming appearance.
His efforts produced a throng of fan.
Yup, one person.
And that was TV, and Barry is a good-looking, entertaining guy.
The conclusion we drew was that all the publicity in the world won't bring people to you unless the people already know who you are.
Had a bestselling author, like James Patterson, been on TV or on the radio, the fans would have come in droves, because people recognize Patterson.
When was the last time you went to a book signing by an unknown author? What brought you there?
If the brand isn't recognized or doesn't meet a consumer's particular needs, the ad gets tuned out. How many men reading this blog know what Natracare is? O.B.? Gyne-lotrimin? Norplant? Massengill? FDS? Depo-provera? Estroven? Monistat 3? You've been bombarded with thousands of commercials and ads for these feminine products, and even if you recognize the names, and may even have some on your home, its doubtful you know what each one does.
You aren't the target audience, so you don't pay attention to the ads.
And if you're a woman, and you are the target audience for these products, chances are you already have a favorite brand and you stick with it, rather than switch because you hear an ad on the radio for a rival product.
As Barry says, there's no silver bullet---one specific way to slay the beast. As writers we have to keep trying whatever we can, and hope that some combination of our publicity and marketing efforts will get us noticed.
So I'll try radio again. It was fun, and doesn't take up a lot of time. But I won't seek it out. And I certainly won't pay a publicist to get me on the radio, or even TV.
Publicity doesn't work unless you're already a known commodity, and it doesn't work unless your target audience is listening and receptive.
-----------------
BTW--for those keeping track (hi Maria!) I took an extra day in Wisconsin to do some drive-by signings:
Barnes & Noble in Madison West signed 8 hardcovers and 4 paperbacks.
Waldenbooks in Madison West signed 2 hardcovers and 8 paperbacks.
Borders in Madison West signed 4 hardcovers and 12 paperbacks.
Bookd for Murder signed 3 hardcovers and 14 paperbacks, sold 3.
Barnes & Noble Madison East signed 4 hardcovers and 8 paperbacks, sold 1.
Waldenbooks Madison East signed 2 hardcovers, 4 paperbacks, sold 1.
Borders Madison East signed 2 hardcovers, 4 paperbacks.
Bookworld in Janesville, signed 1 paperback (but they ordered 10 more books)
Waldenbooks in Janesville signed 4 hardcovers, 5 paperbacks, sold 1.
Waldenbooks in Rockford signed 2 hardcovers, 2 paperbacks, sold 2.
Borders in Rockford signed 4 hardcovers, 10 paperbacks, sold 2.
Barnes & Nobel in Rockford, signed 6 hardcovers, 6 paperbacks.
I'm going to be doing drive-bys in Illinois today, accompanied by Melanie Lynne Hauser, whose new book Confessions of Super Mom just hit the shelves. It's super-hero chick-lit with a mystery thrown in. It's also very funny, touching, and a wonderful read. Buy a copy for Mom---she'll love it.
Also visit Melanie at http://www.melanielynnehauser.com. She's got a great website, and many unique ideas about how to promote books. Her booklaunch party is at Anderson's in Naperville, August 25th. I urge all of my blog readers to attend the event if you're able, to see up close and personal how a successful booklaunch works. I'll be there!
Senin, 22 Agustus 2005
Jumat, 19 Agustus 2005
A Face Made for Radio
So I just did my third radio interview in as many days, to promote an event I'm doing in La Crosse, Wisconsin on August 20, and I'm on the fence about the subject.
First things first---I don't have a large ego (500 rejections will do that to you) but I know I'm pretty good at public speaking. Pull the string, and the monkey tells jokes. So I wasn't nervous, and didn't do any preplanning.
The publicist for the event I'm doing set up the interviews, and each radio personality emailed me a few days prior, setting up the time for the taping.
Each interview lasted between 3 and 7 minutes. I knew I had to get three things across in that time:
1. That I'll be at Waldenbooks in Valley View Mall from 11am-4pm, and a portion of the sales will be donated to the Family Resource Center.
2. That the books are about a cop named Jack Daniels.
3. That I need to be the most entertaining person on the planet.
Number 3 might be considered grandiose narcissism, but it isn't. I HAD to keep the hosts laughing. That's what morning shows are all about.
So how did I do?
Radio person #1 called me on my cell while I was at Best Buy, picking up the new Sin City DVD. I wouldn't have been in the store had I known she was calling (she did a morning show and this was late afternoon.) So I did the interview in my parked car.
It was hot (air conditioning made too much noise) but I got out all the necessary info, and had the host laughing like crazy.
Radio personality #2 called in the morning, at the time he'd told me. He talked a lot, and it was tough to get all of my info in without sounding intrusive. Of course, the UPS guy came while we were talking, which sent my dogs into Attack Mode, and when he commented on my barking dogs I said, "Oh, that's just the UPS man, bringing my weekly selection of Adult DVDs."
Before I had a chance to say "I write them off on my taxes as research" the interview was over.
Perhaps the station was more conservative than I'd guessed. Still, I did my info dump, and managed a few jokes.
This morning, I got a call at the designated time from two very fun radio personalities, who hadn't wanted to interview me because neither of them liked to read, but after exchanging some emails they deemed me funny enough to air for a few minutes.
I answered the phone yawning, telling them that a bestselling author like myself usually parties late into the night. Then I asked for a moment to look under the covers and check to see who I woke up next to. After a long, dramatic scream, I informed them that it was my wife. "A guy can hope," I said.
From there, great interview. They were laughing like hell, I said what I needed to while also ripping on the hosts (the book is perfect for you, Kris--no word is over three syllables) and we went for about 7 minutes, all of it a lot of fun.
Now we'll see what power radio has. Will people come out to my signing based on my interviews? It's a small town, and I was on the big three stations. Will that make a difference?
I'm going to ask each person that shows up. If the radio brought them there, I'll hire a publicist to book me on radio shows (which can cost a few grand.)
If the people don't come out in droves, then I'll still do radio when offered, but won't actively seek it out.
What are your opinions of radio? Does it help sell books?
First things first---I don't have a large ego (500 rejections will do that to you) but I know I'm pretty good at public speaking. Pull the string, and the monkey tells jokes. So I wasn't nervous, and didn't do any preplanning.
The publicist for the event I'm doing set up the interviews, and each radio personality emailed me a few days prior, setting up the time for the taping.
Each interview lasted between 3 and 7 minutes. I knew I had to get three things across in that time:
1. That I'll be at Waldenbooks in Valley View Mall from 11am-4pm, and a portion of the sales will be donated to the Family Resource Center.
2. That the books are about a cop named Jack Daniels.
3. That I need to be the most entertaining person on the planet.
Number 3 might be considered grandiose narcissism, but it isn't. I HAD to keep the hosts laughing. That's what morning shows are all about.
So how did I do?
Radio person #1 called me on my cell while I was at Best Buy, picking up the new Sin City DVD. I wouldn't have been in the store had I known she was calling (she did a morning show and this was late afternoon.) So I did the interview in my parked car.
It was hot (air conditioning made too much noise) but I got out all the necessary info, and had the host laughing like crazy.
Radio personality #2 called in the morning, at the time he'd told me. He talked a lot, and it was tough to get all of my info in without sounding intrusive. Of course, the UPS guy came while we were talking, which sent my dogs into Attack Mode, and when he commented on my barking dogs I said, "Oh, that's just the UPS man, bringing my weekly selection of Adult DVDs."
Before I had a chance to say "I write them off on my taxes as research" the interview was over.
Perhaps the station was more conservative than I'd guessed. Still, I did my info dump, and managed a few jokes.
This morning, I got a call at the designated time from two very fun radio personalities, who hadn't wanted to interview me because neither of them liked to read, but after exchanging some emails they deemed me funny enough to air for a few minutes.
I answered the phone yawning, telling them that a bestselling author like myself usually parties late into the night. Then I asked for a moment to look under the covers and check to see who I woke up next to. After a long, dramatic scream, I informed them that it was my wife. "A guy can hope," I said.
From there, great interview. They were laughing like hell, I said what I needed to while also ripping on the hosts (the book is perfect for you, Kris--no word is over three syllables) and we went for about 7 minutes, all of it a lot of fun.
Now we'll see what power radio has. Will people come out to my signing based on my interviews? It's a small town, and I was on the big three stations. Will that make a difference?
I'm going to ask each person that shows up. If the radio brought them there, I'll hire a publicist to book me on radio shows (which can cost a few grand.)
If the people don't come out in droves, then I'll still do radio when offered, but won't actively seek it out.
What are your opinions of radio? Does it help sell books?
Selasa, 16 Agustus 2005
Drinks are on Ed
I've always understood the value of libraries.
Not only do they buy a good number of books (there are over 10,000 of them in the USA,) but a lot of readers become fans in libraries, and librarians love to talk about titles that they enjoy. They're great for word-of-mouth.
An added benefit to libraries is that they often have authors come in to speak. Some will even pay you for the honor, and you can sell books afterward.
So when a library wants me there, I try to make every effort to go. Which is what I did last weekend.
Spencer Indiana is about 250 miles away from my house. I drive a Land Rover, which can climb up the sides of boulder-strewn mountains and plow through raging rivers (very important in the suburbs of Chicago) but gets only about three miles to the gallon. With gas prices these days, a 500 mile round trip costs somewhere in the neighborhood of $77,325.
Not the most effective use of an author's money and time, you say? Especially since you geographically-savvy folks know that Spencer has a population of under 3000 people?
Well, a promo opportunity is a promo opportunity, and I loaded up the truck with beef jerky and energy drinks and went to see the Hoosiers.
Laura Stantz, Owen County Library's Events Coordinator, lured me there with promises of a free hotel room, free food, and free beer, so I figured I'd wind up ahead on the deal. I was to do a signing at the library from noon until three, then from six until ten I was to do another signing at the neighrbood bar and grill, Ed O'Brien's.
My expectations weren't very high--the most books I'd ever sold at a library event was 14. I had about 35 books with me, which should be more than enough.
My arrival at the library was met with much enthusiasm by the librarians, Laura, Beth Williams, and Brenda Curry. They'd hung posters around town advertising the event.
Unfortunately, their best efforts only drew a precocious 15 year old kid named Ben.
But I'm used to playing without an audience, so I circulated through the library (ha!) and met some patrons. In three hours, I'd sold 20 books. Not too shabby.
Afterwards, I did drive-by signings at the Bloomington Barnes & Noble and Borders, both of which had ample supplies, and then headed for the bar.
Ed O'Brien's was a small, intimate place, and I liked it immediately. Besides having me there, they also had live music in the form of the Jeff Waggoner band. I hung out with many literary-minded folks, including Jennifer Vibbert, Genny Coppedge, Brad and Jen Frye, Gwen Dieter, and Ed himself. Good people.
They fed me, gave me large amounts of beer, and bought the rest of my books. I also had a lot of fun.
I often talk about cost vs. value and effectiveness vs. effort. I preach that publishing is a business, and should be treated as such.
But this business isn't always just about numbers, or the bottom line, or the red and the black, or time and money.
It's also about people.
I've done over 300 signings in the past two years. I've forgotten most of them.
This one I won't forget.
How often can you say that?
To those authors who refuse to do drive-by signings because they don't feel it's worth the gas, and the authors that refuse to do events because they feel their time is better spent writing, and the authors who count every promotional penny and constantly fret about time and money, I say: Look at the bigger picture.
And to the wonderful people of Spencer Indiana, population 3000: Thanks for the great time. I'll be back.
Not only do they buy a good number of books (there are over 10,000 of them in the USA,) but a lot of readers become fans in libraries, and librarians love to talk about titles that they enjoy. They're great for word-of-mouth.
An added benefit to libraries is that they often have authors come in to speak. Some will even pay you for the honor, and you can sell books afterward.
So when a library wants me there, I try to make every effort to go. Which is what I did last weekend.
Spencer Indiana is about 250 miles away from my house. I drive a Land Rover, which can climb up the sides of boulder-strewn mountains and plow through raging rivers (very important in the suburbs of Chicago) but gets only about three miles to the gallon. With gas prices these days, a 500 mile round trip costs somewhere in the neighborhood of $77,325.
Not the most effective use of an author's money and time, you say? Especially since you geographically-savvy folks know that Spencer has a population of under 3000 people?
Well, a promo opportunity is a promo opportunity, and I loaded up the truck with beef jerky and energy drinks and went to see the Hoosiers.
Laura Stantz, Owen County Library's Events Coordinator, lured me there with promises of a free hotel room, free food, and free beer, so I figured I'd wind up ahead on the deal. I was to do a signing at the library from noon until three, then from six until ten I was to do another signing at the neighrbood bar and grill, Ed O'Brien's.
My expectations weren't very high--the most books I'd ever sold at a library event was 14. I had about 35 books with me, which should be more than enough.
My arrival at the library was met with much enthusiasm by the librarians, Laura, Beth Williams, and Brenda Curry. They'd hung posters around town advertising the event.
Unfortunately, their best efforts only drew a precocious 15 year old kid named Ben.
But I'm used to playing without an audience, so I circulated through the library (ha!) and met some patrons. In three hours, I'd sold 20 books. Not too shabby.
Afterwards, I did drive-by signings at the Bloomington Barnes & Noble and Borders, both of which had ample supplies, and then headed for the bar.
Ed O'Brien's was a small, intimate place, and I liked it immediately. Besides having me there, they also had live music in the form of the Jeff Waggoner band. I hung out with many literary-minded folks, including Jennifer Vibbert, Genny Coppedge, Brad and Jen Frye, Gwen Dieter, and Ed himself. Good people.
They fed me, gave me large amounts of beer, and bought the rest of my books. I also had a lot of fun.
I often talk about cost vs. value and effectiveness vs. effort. I preach that publishing is a business, and should be treated as such.
But this business isn't always just about numbers, or the bottom line, or the red and the black, or time and money.
It's also about people.
I've done over 300 signings in the past two years. I've forgotten most of them.
This one I won't forget.
How often can you say that?
To those authors who refuse to do drive-by signings because they don't feel it's worth the gas, and the authors that refuse to do events because they feel their time is better spent writing, and the authors who count every promotional penny and constantly fret about time and money, I say: Look at the bigger picture.
And to the wonderful people of Spencer Indiana, population 3000: Thanks for the great time. I'll be back.
Jumat, 12 Agustus 2005
You Have the Rights to Remain in Print
Rights are often talked about, but what exactly are they?
When you write something, you don't sell the writing itself. You're actually licensing people to print, adapt, translate, or perform the work. These rights may be for a fixed amount of time, such as two years, one-time-only, first printing, first US rights, first English speaking rights, etc. They may also be until the work goes out of print, which is how most publishers operate.
Hyperion bought world rights to the first six books in the Jack Dnaiels series. This is how it is worded in my contract:
"Author grants and assigns to Publisher the sole and exclusive rights to the Material throughout the world during the entire term of the copyright and any renewlas and extensions thereof: to print, publish and istribute the Material inbook form, including hardcover, trade paperback and mass market paperback, in all languages."
What does this mean? A copyright lasts for an author's entire life, plus 70 years. Quick note for newbies; don't worry about getting a copyright. You DO NOT need to register for a copyright at the US copyright office. Save your stamps and money. Your publisher will do this for you. Being paranoid about idea-theft is the earmark of an amateur.
So does my contract state that I can never leave my publisher until I've been dead for 70 years?
No. Because there is also this clause:
"If a Book of the Work is out-of-print (definition of "out-of-print" omitted for length), all rights granted to the Publisher shall automatically revert to the author."
Which says that if my publisher stops printing my book, the rights are mine again, to do with as I please.
Hyperion has world translatation rights, but several other subsidiary rights were kept by me. Though Hyperion can sell the book to Thailand, they cannot sell the book to Hollywood, or make an audiobook from it.
The contract discusses various other rights (periodical, book club, mulitmedia, etc.) and the percentage split between author/publisher.
For example, if the publisher sells first serial rights (printing a portion of the book in a periodical before it is published), I get 90% of the money, they get 10%. Second serial rights is a 50/50 split.
My 90% of the money for first serial rights is subtracted from my advance if I haven't earned out, or is added to my royalty check if I have earned out my advance.
Though Hyperion has world rights, they only have 25% of them (20% for British). That means if they sell Whiskey Sour to England for ten grand, Hyperion earns two grand, and I earn eight grand, which goes toward my advance.
I write about advances and royalties in the TIPS section of my website, if some of you are confused about what I'm talking about.
It's int he author's best interest to keep as many rights as possible, to sell them, and its int he publisher's best interest to keep as many rights as possible, to earn back what they've paid the author.
My agent has sold the audiobook sub rights to Brilliance audio. This contract is seperate from Hyperion, and my print publisher doesn't earn anything from it.
My agent hasn't sold movie rights yet, but if they do, Hyperion doesn't get a cut. Hyperion will benefit though, from increased sales and a new edition of the book.
Of course, we all know that the most lucrative sub rights ever sold were Tom Clancy's Hunt for Red October.
Get it? Sub rights?
Moving right along...
What else is in a publishing contract? Here's the breakdown:
1. Clause on when the manuscrip(s) will be delivered.
2. Grant of rights.
3. Editorial changes and proofs. (these staet that the editor has the right to request changes, but won't change anything iwthout author approval)
4. Advance. How the money will be paid out (in my case, I get chunks when turning in outlines and finished manuscripts).
5. Royalties. What I earn per book sold (about $3.00 per hardcover, 60 cents per paperback.)
6. Sub rights.
7. Transactions with affiliates. My publisher's parent company can exercise the sub rights.
8. Royalty statements. This defines the terms of joint accounting (when an advance isn't earned out until all books in the contract earn out), reserve against returns (keeping money from the author in case bookstores return books), and when royalty statements are issued.
9. Examination of Publisher's Books and Records. The author has the right to look at the numbers.
10. Termination. All the things that can break the contract, including failure for an author to deliver an acceptable manuscript.
11. Publication. The time frame in which a publisher goes to press after accepting a book, and how many free copies an author and agent receive.
12. Warranties and Indemnities. The author swears he wrote the book, and is responsible for the content.
13. Competing works. The author won't publish anything similar with anyone else/
14. Copyright. The publisher will pay for it.
15. Third party infringement. Both the publisher and author can sue copyright infringers.
16. Option. The publisher gets firts look at the author's next manuscript.
17. Out of print termination. Rights revert back to author when book is out of print.
18. Retention of manuscript copy. It's the author's responsibilty to keep a copy of the book.
19. Use of author's name and likeness. The publisher can use the author for promo stuff.
20. Advertisements. Any sub rights licensed cannot have any advertising in them unless the author agrees.
21. Taxes.
22. Force majeure. Acts of god can change the contract.
23. Bankruptcy. If the publisher files for bancruptcyt, the contract is null.
24. Governing law. The contract is subject to the laws of NY.
25. Assignment of this agreement. Niether author nor publisher can assign this contract to anyone else unless both agree.
26. Headings. The headings inthis agreement are for convenience only and are without substantive effect.
27. Notices. First class mail is used for correspondence between author and publisher, but registered mail is used in certain cases.
28. Agency. The author allows the agent to represent him in this deal.
29. Sodomy. Ha! Just seeing if you were still paying attention!
29. Entire understanding. This contract supersedes all prior negotiations.
So that's a book contract. Not very exciting, huh?
As always, I'm happy to answer any questions, as long as you sign this simple agreement...
When you write something, you don't sell the writing itself. You're actually licensing people to print, adapt, translate, or perform the work. These rights may be for a fixed amount of time, such as two years, one-time-only, first printing, first US rights, first English speaking rights, etc. They may also be until the work goes out of print, which is how most publishers operate.
Hyperion bought world rights to the first six books in the Jack Dnaiels series. This is how it is worded in my contract:
"Author grants and assigns to Publisher the sole and exclusive rights to the Material throughout the world during the entire term of the copyright and any renewlas and extensions thereof: to print, publish and istribute the Material inbook form, including hardcover, trade paperback and mass market paperback, in all languages."
What does this mean? A copyright lasts for an author's entire life, plus 70 years. Quick note for newbies; don't worry about getting a copyright. You DO NOT need to register for a copyright at the US copyright office. Save your stamps and money. Your publisher will do this for you. Being paranoid about idea-theft is the earmark of an amateur.
So does my contract state that I can never leave my publisher until I've been dead for 70 years?
No. Because there is also this clause:
"If a Book of the Work is out-of-print (definition of "out-of-print" omitted for length), all rights granted to the Publisher shall automatically revert to the author."
Which says that if my publisher stops printing my book, the rights are mine again, to do with as I please.
Hyperion has world translatation rights, but several other subsidiary rights were kept by me. Though Hyperion can sell the book to Thailand, they cannot sell the book to Hollywood, or make an audiobook from it.
The contract discusses various other rights (periodical, book club, mulitmedia, etc.) and the percentage split between author/publisher.
For example, if the publisher sells first serial rights (printing a portion of the book in a periodical before it is published), I get 90% of the money, they get 10%. Second serial rights is a 50/50 split.
My 90% of the money for first serial rights is subtracted from my advance if I haven't earned out, or is added to my royalty check if I have earned out my advance.
Though Hyperion has world rights, they only have 25% of them (20% for British). That means if they sell Whiskey Sour to England for ten grand, Hyperion earns two grand, and I earn eight grand, which goes toward my advance.
I write about advances and royalties in the TIPS section of my website, if some of you are confused about what I'm talking about.
It's int he author's best interest to keep as many rights as possible, to sell them, and its int he publisher's best interest to keep as many rights as possible, to earn back what they've paid the author.
My agent has sold the audiobook sub rights to Brilliance audio. This contract is seperate from Hyperion, and my print publisher doesn't earn anything from it.
My agent hasn't sold movie rights yet, but if they do, Hyperion doesn't get a cut. Hyperion will benefit though, from increased sales and a new edition of the book.
Of course, we all know that the most lucrative sub rights ever sold were Tom Clancy's Hunt for Red October.
Get it? Sub rights?
Moving right along...
What else is in a publishing contract? Here's the breakdown:
1. Clause on when the manuscrip(s) will be delivered.
2. Grant of rights.
3. Editorial changes and proofs. (these staet that the editor has the right to request changes, but won't change anything iwthout author approval)
4. Advance. How the money will be paid out (in my case, I get chunks when turning in outlines and finished manuscripts).
5. Royalties. What I earn per book sold (about $3.00 per hardcover, 60 cents per paperback.)
6. Sub rights.
7. Transactions with affiliates. My publisher's parent company can exercise the sub rights.
8. Royalty statements. This defines the terms of joint accounting (when an advance isn't earned out until all books in the contract earn out), reserve against returns (keeping money from the author in case bookstores return books), and when royalty statements are issued.
9. Examination of Publisher's Books and Records. The author has the right to look at the numbers.
10. Termination. All the things that can break the contract, including failure for an author to deliver an acceptable manuscript.
11. Publication. The time frame in which a publisher goes to press after accepting a book, and how many free copies an author and agent receive.
12. Warranties and Indemnities. The author swears he wrote the book, and is responsible for the content.
13. Competing works. The author won't publish anything similar with anyone else/
14. Copyright. The publisher will pay for it.
15. Third party infringement. Both the publisher and author can sue copyright infringers.
16. Option. The publisher gets firts look at the author's next manuscript.
17. Out of print termination. Rights revert back to author when book is out of print.
18. Retention of manuscript copy. It's the author's responsibilty to keep a copy of the book.
19. Use of author's name and likeness. The publisher can use the author for promo stuff.
20. Advertisements. Any sub rights licensed cannot have any advertising in them unless the author agrees.
21. Taxes.
22. Force majeure. Acts of god can change the contract.
23. Bankruptcy. If the publisher files for bancruptcyt, the contract is null.
24. Governing law. The contract is subject to the laws of NY.
25. Assignment of this agreement. Niether author nor publisher can assign this contract to anyone else unless both agree.
26. Headings. The headings inthis agreement are for convenience only and are without substantive effect.
27. Notices. First class mail is used for correspondence between author and publisher, but registered mail is used in certain cases.
28. Agency. The author allows the agent to represent him in this deal.
29. Sodomy. Ha! Just seeing if you were still paying attention!
29. Entire understanding. This contract supersedes all prior negotiations.
So that's a book contract. Not very exciting, huh?
As always, I'm happy to answer any questions, as long as you sign this simple agreement...
Kamis, 11 Agustus 2005
Buzz, Balls, and Self-Promotion
Barry Eisler is guest blogging at MJ Rose's well known site, and he's sharing his take on marketing for writers.
Pretty much all of what he says is on the money and worth studying. But I don't think he takes his comments as far as he should.
One of the things Barry and I agree on is investing in your own career as if it were stock.
Investing in yourself does two major things. First, it compounds your publisher's efforts in getting your name out there, establishing a brand, and selling books. Second, it shows your publisher that you're willing to invest your own time and money into building a career.
I invest between 1/3 and 1/2 of my income on promotion. Most of it goes toward travel. I think conventions are essential in my genre (mystery/thriller). So are the several dozen indie bookstores that specialize in mystery. These should be visited.
I spend a lot of time and money doing online promotion, have an extensive mailing list, and am always running contests on my own dime.
I was fortunate that my publisher sent me on an eight city tour. While they set up 8 events in 11 days, I used the time to sign stock at 97 other stores in the areas they sent me.
Were they impressed? Yes.
The single most important thing an author must do is to make sure their publisher is happy. That means earning out your advance, being gracious and easy to work with, and making an effort promoting and marketing.
It's hard work, and I'd rather spend the money on bills, but at this early stage in the game I have to show my publisher what I can, and will, do in order to succeed.
I know too many mid-list authors who are wondering why their careers are stalled---or finished. I don't want to be one of them.
Which is why I'm continuing my drive-by signing campaign, planning onhitting 300 more bookstores in the upcoming months.
Though having co-op placement (window, register, dump box, new release table, and end cap space that your publisher pays for) allows for a higher profile display and likelier customer purchase (and signed copies add to that), you don't have to have ten books in the store to benefit from a drop-in signing. Even Mary Midlist with two paperbacks in the Romance section can benefit.
Never underestimate the importance of the human contact, in this case author/bookstore employee. Impress someone working the register at a Border's, and she'll read your book. Once she's read you, she's a fan. She can handsell you. She can keep your books on the shelf even when the home office says they need to be stripped. She can reorder more copies even though the computer says she shouldn't.
I've had bookstores handsell dozens, even hundreds, of my books. All because they met me.
Plus, in almost every drive-by I did, once the books were signed the employees promised they'd be prominantly displayed. I didn't even have to ask. Though I'm fortunate to have some co-op placement, in many cases my books were spine-out in the Mystery section. But once I signed them, they were moved to an end cap by the bookseller.
Booksellers like to meet authors, and they like to display signed books. It shows customers that they have a connection with authors, and that authors value their store enough to sign there.
Remember--my publisher didn't tour me for my first book, and I had no co-op. But I did a lot of drop-ins, and my publisher noticed, leading to a larger print run, more co-op and advertising, and a publisher tour.
Recruiting your publisher is hugely important. But selling those extra books is important too, even if it is only a few hundred.
Let's say you have a two book hard/soft deal.
Book #1 has a print run of 15,000. Your publisher expects to sell half of that, 7500, which is a standard sell-through for a new author.
But because there wasn't a lot of promotion, or co-op, you only sell 7000. Still respectable, but you aren't knocking their socks off.
Book #1 goes into paperback. They might have projected a 50k print run, but because hardback sales were weak, this drops to 40k. That means less promo dollars, less in-house enthusiasm, less puch from the sales reps to get the book into stores. No one wants to back a loser.
And for Book #2, the hardcover run also goes down, to 12k. Book buyers see this, view what sold previously, and buy less. Again, you have a smaller promo budget, less in-house enthusiasm, and your chances for a second contract don't look good.
The key to fixing this is promotion. Getting your name, and yourself, out there and selling the books. Ads, reviews, library talks, conferences, conventions, internet marketing, snail mail campaigns, website contests and booksignings. Meeting the booksellers and the fans is what can make the difference.
The Whiskey Sour paperback was released 2 months ago, but the hardcover hasn't been remaindered yet, even though it's been out for 15 months, because it is still selling. Because I'm the one selling it. Slowly but surely.
I'll be super candid here; this business scares the crap out of me. I spend hours in bookstores, hand selling, and am shocked by how few books sell. Those that do sell are because the buyer knows of the author, either by reading previous books or hearing about the books some how. The amount of books sold to browsers---those folks who will plunk down $25 on a new author they've never heard of---is very tiny.
Even a recent NYT bestseller sold 4900 paperbacks in Waldenbooks chain in 3 weeks.
Do the math. There are 700 Waldenbooks stores nationwide. Each sold about seven books in 21 days, or a book every 3 days.
One book every three days is not a lot (and these are paperbacks). Each day had ten hours worth of traffic--between 300 and 1000 customers a day, and for two out of every three days, her new book went unsold.
And she's a known name with a huge fanbase. She'll sell better than any of us.
Chances are, Waldenbooks will get two or three copies of your book, where they'll sit on a shelf for 4 months, then get returned for credit. because no one is going to buy your book if they've never heard of you.
Go to a bookstore. Look at the bestseller rack. Sit and watch it for eight hours (I've done this dozens of times). See how many copies of Lee Child's new one sell. You'll be lucky to see one get sold. And he's Lee Child.
There are exceptions. The Traveller. The Historian. DaVinci Code. Potter. 5 People in Heaven. But it's doubtful you'll be an exception.
So who is going to sell these books?
You are. That means meeting the booksellers. Meeting the fans. Signing stock. Doing drop-ins.
Signed books have a better chance at selling. Signed books that the bookseller recommends are an even better bet.
Do this as often as you can.
Of course, the single greatest form of advertising in the publishing business is... short story sales.
By the end of the year, I'll have had stories and articles in 4 issues of Ellery Queen (250k circultation each), 3 issues of Writer's Digest (180k circ. each), 1 issue of Alfred Hitchcock (250k circ), 1 issue of The Strand (50k circ,) 20 other magazines and anthologies (150k circ.) including the upcoming THRILLER anthology edited by James Patterson (which sold for the biggest advance in the history of anthologies and will get huge press and a huge release.)
That's my name in almost 2 million magazines and books. But not just my name---my writing. And my writing is a much better form of advertising than any three color brochure or tiny b/w ad in the back of Mystery Scene.
If people read and enjoy a short story, they'll seek out the books. I have 1000's of emails from fans that back this statement up.
Cost to author: free, or you get paid. There's a time investment, but spending a week on a story that reaches two hundred thousand people seems to be a good return, plus you have the story forever. Writer's Digest reprinted my first article in two other publications (Novel Writing Magazine and Selling Your First Book magazine).
Which brings up the hackneyed expression "think outside the box."
The more that you learn about the way publishing works, the more that ideas spring to mind about who to best exploit it.
I found an agent in an unconventional way. I studied the industry and figured out what should work, even though all the how-to books said otherwise.
I've been selling my books in unconventional ways as well. I'll spend 6-8 hours in a bookstore, shaking the hand of everyone who walks in. I've met thousands of people, and sold thousands of books. Not too many other authors take this approach.
I consider short story sales and drive-by signings essential to a career, and I've been preaching this for a while. Not because Writer's Digest told me so. Because I looked at the industry, found a niche to exploit, and exploited it.
These methods may not work for everyone. But other methods could.
Necessity is the mother of invention, and authors need to find better ways to sell their books, or else they won't last long in this business.
Learn all you can about publishing. Not only from the outside, but from the inside as well.
You're a consumer, as well as a writer. What makes you buy a book? Figure that out, and concentrate your efforts on reproducing that effect for other consumers.
Pretty much all of what he says is on the money and worth studying. But I don't think he takes his comments as far as he should.
One of the things Barry and I agree on is investing in your own career as if it were stock.
Investing in yourself does two major things. First, it compounds your publisher's efforts in getting your name out there, establishing a brand, and selling books. Second, it shows your publisher that you're willing to invest your own time and money into building a career.
I invest between 1/3 and 1/2 of my income on promotion. Most of it goes toward travel. I think conventions are essential in my genre (mystery/thriller). So are the several dozen indie bookstores that specialize in mystery. These should be visited.
I spend a lot of time and money doing online promotion, have an extensive mailing list, and am always running contests on my own dime.
I was fortunate that my publisher sent me on an eight city tour. While they set up 8 events in 11 days, I used the time to sign stock at 97 other stores in the areas they sent me.
Were they impressed? Yes.
The single most important thing an author must do is to make sure their publisher is happy. That means earning out your advance, being gracious and easy to work with, and making an effort promoting and marketing.
It's hard work, and I'd rather spend the money on bills, but at this early stage in the game I have to show my publisher what I can, and will, do in order to succeed.
I know too many mid-list authors who are wondering why their careers are stalled---or finished. I don't want to be one of them.
Which is why I'm continuing my drive-by signing campaign, planning onhitting 300 more bookstores in the upcoming months.
Though having co-op placement (window, register, dump box, new release table, and end cap space that your publisher pays for) allows for a higher profile display and likelier customer purchase (and signed copies add to that), you don't have to have ten books in the store to benefit from a drop-in signing. Even Mary Midlist with two paperbacks in the Romance section can benefit.
Never underestimate the importance of the human contact, in this case author/bookstore employee. Impress someone working the register at a Border's, and she'll read your book. Once she's read you, she's a fan. She can handsell you. She can keep your books on the shelf even when the home office says they need to be stripped. She can reorder more copies even though the computer says she shouldn't.
I've had bookstores handsell dozens, even hundreds, of my books. All because they met me.
Plus, in almost every drive-by I did, once the books were signed the employees promised they'd be prominantly displayed. I didn't even have to ask. Though I'm fortunate to have some co-op placement, in many cases my books were spine-out in the Mystery section. But once I signed them, they were moved to an end cap by the bookseller.
Booksellers like to meet authors, and they like to display signed books. It shows customers that they have a connection with authors, and that authors value their store enough to sign there.
Remember--my publisher didn't tour me for my first book, and I had no co-op. But I did a lot of drop-ins, and my publisher noticed, leading to a larger print run, more co-op and advertising, and a publisher tour.
Recruiting your publisher is hugely important. But selling those extra books is important too, even if it is only a few hundred.
Let's say you have a two book hard/soft deal.
Book #1 has a print run of 15,000. Your publisher expects to sell half of that, 7500, which is a standard sell-through for a new author.
But because there wasn't a lot of promotion, or co-op, you only sell 7000. Still respectable, but you aren't knocking their socks off.
Book #1 goes into paperback. They might have projected a 50k print run, but because hardback sales were weak, this drops to 40k. That means less promo dollars, less in-house enthusiasm, less puch from the sales reps to get the book into stores. No one wants to back a loser.
And for Book #2, the hardcover run also goes down, to 12k. Book buyers see this, view what sold previously, and buy less. Again, you have a smaller promo budget, less in-house enthusiasm, and your chances for a second contract don't look good.
The key to fixing this is promotion. Getting your name, and yourself, out there and selling the books. Ads, reviews, library talks, conferences, conventions, internet marketing, snail mail campaigns, website contests and booksignings. Meeting the booksellers and the fans is what can make the difference.
The Whiskey Sour paperback was released 2 months ago, but the hardcover hasn't been remaindered yet, even though it's been out for 15 months, because it is still selling. Because I'm the one selling it. Slowly but surely.
I'll be super candid here; this business scares the crap out of me. I spend hours in bookstores, hand selling, and am shocked by how few books sell. Those that do sell are because the buyer knows of the author, either by reading previous books or hearing about the books some how. The amount of books sold to browsers---those folks who will plunk down $25 on a new author they've never heard of---is very tiny.
Even a recent NYT bestseller sold 4900 paperbacks in Waldenbooks chain in 3 weeks.
Do the math. There are 700 Waldenbooks stores nationwide. Each sold about seven books in 21 days, or a book every 3 days.
One book every three days is not a lot (and these are paperbacks). Each day had ten hours worth of traffic--between 300 and 1000 customers a day, and for two out of every three days, her new book went unsold.
And she's a known name with a huge fanbase. She'll sell better than any of us.
Chances are, Waldenbooks will get two or three copies of your book, where they'll sit on a shelf for 4 months, then get returned for credit. because no one is going to buy your book if they've never heard of you.
Go to a bookstore. Look at the bestseller rack. Sit and watch it for eight hours (I've done this dozens of times). See how many copies of Lee Child's new one sell. You'll be lucky to see one get sold. And he's Lee Child.
There are exceptions. The Traveller. The Historian. DaVinci Code. Potter. 5 People in Heaven. But it's doubtful you'll be an exception.
So who is going to sell these books?
You are. That means meeting the booksellers. Meeting the fans. Signing stock. Doing drop-ins.
Signed books have a better chance at selling. Signed books that the bookseller recommends are an even better bet.
Do this as often as you can.
Of course, the single greatest form of advertising in the publishing business is... short story sales.
By the end of the year, I'll have had stories and articles in 4 issues of Ellery Queen (250k circultation each), 3 issues of Writer's Digest (180k circ. each), 1 issue of Alfred Hitchcock (250k circ), 1 issue of The Strand (50k circ,) 20 other magazines and anthologies (150k circ.) including the upcoming THRILLER anthology edited by James Patterson (which sold for the biggest advance in the history of anthologies and will get huge press and a huge release.)
That's my name in almost 2 million magazines and books. But not just my name---my writing. And my writing is a much better form of advertising than any three color brochure or tiny b/w ad in the back of Mystery Scene.
If people read and enjoy a short story, they'll seek out the books. I have 1000's of emails from fans that back this statement up.
Cost to author: free, or you get paid. There's a time investment, but spending a week on a story that reaches two hundred thousand people seems to be a good return, plus you have the story forever. Writer's Digest reprinted my first article in two other publications (Novel Writing Magazine and Selling Your First Book magazine).
Which brings up the hackneyed expression "think outside the box."
The more that you learn about the way publishing works, the more that ideas spring to mind about who to best exploit it.
I found an agent in an unconventional way. I studied the industry and figured out what should work, even though all the how-to books said otherwise.
I've been selling my books in unconventional ways as well. I'll spend 6-8 hours in a bookstore, shaking the hand of everyone who walks in. I've met thousands of people, and sold thousands of books. Not too many other authors take this approach.
I consider short story sales and drive-by signings essential to a career, and I've been preaching this for a while. Not because Writer's Digest told me so. Because I looked at the industry, found a niche to exploit, and exploited it.
These methods may not work for everyone. But other methods could.
Necessity is the mother of invention, and authors need to find better ways to sell their books, or else they won't last long in this business.
Learn all you can about publishing. Not only from the outside, but from the inside as well.
You're a consumer, as well as a writer. What makes you buy a book? Figure that out, and concentrate your efforts on reproducing that effect for other consumers.
Senin, 08 Agustus 2005
Jack Until '09
I just signed another 3 book deal with Hyperion, ensuring that Jack Daneils will be chasing bad guys for a while longer.
Thanks to my uber-agent, Jane Dystel, and my editor, Leslie Wells, for making this happen.
I'm going to celebrate by working my ass off promoting the series.
But first, beer!
Thanks to my uber-agent, Jane Dystel, and my editor, Leslie Wells, for making this happen.
I'm going to celebrate by working my ass off promoting the series.
But first, beer!
Sabtu, 06 Agustus 2005
Back From Vacation... Sort Of
I didn't have a vacation last year. My money and time were spent on touring, and I missed out on taking the kids and dogs on a long car ride to a cabin somewhere to fish and swat bugs and get sunburned.
This year was looking to be similar. But something changed that. No, it wasn't my concerned wife, pleading with me to take a break and relax before I killed myself with work. No, it wasn't my 7 year old son, who was beginning to think that Dad was umbilically attached to his computer. And no, it wasn't me, who finally decided that I deserved a break after busting my tail for 3 years.
It was a bookstore.
I have a hard time turning down appearance requests. If someone wants me for a signing, or a speech, I consider it a wonderful opportunity for exposure, brand-building, networking, bookselling, and self-promoting. I spent a long time trying to set up appearances, and now that people are coming to me rather than the other way around, I try my best to honor requests.
So when I got a request to visit a store in upper Michigan, I said yes---even though it was a six hour drive. Six hours each way meant an overnight stay. Researching the area led me to a cabin on a lake, and I figured I could turn it into a vacation.
It was much needed after the work I put into my West Coast Tour, and I managed to get attacked by bugs, catch some fish, and even work on my sunburn, along with rediscovering that I have a pretty cool family.
Plus, the signing went well.
Now I'm back, and diving into the email and snail mail that has accumulated in my absence. This includes:
7 blurb requests. Somewhere along the line I said yes to 7 writers, all of whom have sent their manuscripts for me to blurb, deadlines coming up quick.
30 self-published books to read. Somewhere along the line I agreed to judge a genre fiction contest for Writer's Digest, and have to write 30 book critiques by mid-August.
223 emails to answer. I should probably be doing that instead of blogging.
I should be able to whip through all of this fairly fast, because I'm in the curious position of having nothing currently due on the writing front. Hyperion is considering my outline for the next Jack Daniels book, DIRTY MARTINI. They haven't sent me the line edits yet for RUSTY NAIL. No short stories are currently due. So, other than drive-by signings in the Chicagoland area, and a few scheduled events, I'm pretty open for August.
On the publishing front, various cool things are happening, including:
I just received the September issue of Writer's Digest, which features my article AFTER THE BOOK COMES OUT, a continuation of my piece for them last year called AFTER THE BIG SALE. The layout is a thing of beauty---I couldn't be happier. WD also bought another piece of mine called TURN A DISASTEROUS BOOKSIGNING INTO A SUCCESS, and is considering two others.
Jack Daniels will appear in the November issue of EQMM. The current issue has a back cover ad for my books, placed there by my publisher, along with a review of BLOODY MARY.
My Phineas Troutt story EPITAPH will appear in the upcomign THRILLER anthology, edited by James Patterson for the ITW.
Another Phineas Troutt story, SUFFER, will be in an upcoming issue of Ellery Queen. (side note; both of these Phin stories were written for the anthology CHICAGO NOIR, and were rejected. I should send that editor a Thank You note...)
I just recieved copies of SURREAL #1, which contains my horror short THE SHED.
I just recieved copies of THE STRAND #16, which contains my Harry McGlade story TAKEN TO THE CLEANERS... which may be the funniest thing I've ever written.
I just received copies of CRIMESPREE #7, which contains my story LIGHT DRIZZLE, a parody of my friend Barry Eisler's Rain books.
Another Harry McGlade story, WHELP WANTED, appears at the end of the BLOODY MARY audiobook. The story is read by me, and I don't suck too bad. The book itself is read by Dick Hill and Susie Breck, and they're fabulous. I'll put an excerpt on my website when I get caught up with stuff.
But first, I gotta go pick up some sunburn cream...
This year was looking to be similar. But something changed that. No, it wasn't my concerned wife, pleading with me to take a break and relax before I killed myself with work. No, it wasn't my 7 year old son, who was beginning to think that Dad was umbilically attached to his computer. And no, it wasn't me, who finally decided that I deserved a break after busting my tail for 3 years.
It was a bookstore.
I have a hard time turning down appearance requests. If someone wants me for a signing, or a speech, I consider it a wonderful opportunity for exposure, brand-building, networking, bookselling, and self-promoting. I spent a long time trying to set up appearances, and now that people are coming to me rather than the other way around, I try my best to honor requests.
So when I got a request to visit a store in upper Michigan, I said yes---even though it was a six hour drive. Six hours each way meant an overnight stay. Researching the area led me to a cabin on a lake, and I figured I could turn it into a vacation.
It was much needed after the work I put into my West Coast Tour, and I managed to get attacked by bugs, catch some fish, and even work on my sunburn, along with rediscovering that I have a pretty cool family.
Plus, the signing went well.
Now I'm back, and diving into the email and snail mail that has accumulated in my absence. This includes:
7 blurb requests. Somewhere along the line I said yes to 7 writers, all of whom have sent their manuscripts for me to blurb, deadlines coming up quick.
30 self-published books to read. Somewhere along the line I agreed to judge a genre fiction contest for Writer's Digest, and have to write 30 book critiques by mid-August.
223 emails to answer. I should probably be doing that instead of blogging.
I should be able to whip through all of this fairly fast, because I'm in the curious position of having nothing currently due on the writing front. Hyperion is considering my outline for the next Jack Daniels book, DIRTY MARTINI. They haven't sent me the line edits yet for RUSTY NAIL. No short stories are currently due. So, other than drive-by signings in the Chicagoland area, and a few scheduled events, I'm pretty open for August.
On the publishing front, various cool things are happening, including:
I just received the September issue of Writer's Digest, which features my article AFTER THE BOOK COMES OUT, a continuation of my piece for them last year called AFTER THE BIG SALE. The layout is a thing of beauty---I couldn't be happier. WD also bought another piece of mine called TURN A DISASTEROUS BOOKSIGNING INTO A SUCCESS, and is considering two others.
Jack Daniels will appear in the November issue of EQMM. The current issue has a back cover ad for my books, placed there by my publisher, along with a review of BLOODY MARY.
My Phineas Troutt story EPITAPH will appear in the upcomign THRILLER anthology, edited by James Patterson for the ITW.
Another Phineas Troutt story, SUFFER, will be in an upcoming issue of Ellery Queen. (side note; both of these Phin stories were written for the anthology CHICAGO NOIR, and were rejected. I should send that editor a Thank You note...)
I just recieved copies of SURREAL #1, which contains my horror short THE SHED.
I just recieved copies of THE STRAND #16, which contains my Harry McGlade story TAKEN TO THE CLEANERS... which may be the funniest thing I've ever written.
I just received copies of CRIMESPREE #7, which contains my story LIGHT DRIZZLE, a parody of my friend Barry Eisler's Rain books.
Another Harry McGlade story, WHELP WANTED, appears at the end of the BLOODY MARY audiobook. The story is read by me, and I don't suck too bad. The book itself is read by Dick Hill and Susie Breck, and they're fabulous. I'll put an excerpt on my website when I get caught up with stuff.
But first, I gotta go pick up some sunburn cream...
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