Folks, I have moved into making the line edits, which means we are on the home stretch. The manuscript is 888 pages long. I expect it to take 40-50 hours to make all the edits I marked. However, you have to remember that has to be worked in around my day job. Then we do the copy edit. I expect my portion of that will take another 40 hours. And then I take a day off work to create the book in the POD and ebook formats and publish. We are oh so close!
In The Business Rusch: Generational Divide Kris Rusch points out that the new on-demand and long-tail market for books has changed the duration of the opportunity a book has to be successful, but that it seems the industry still isn’t recognizing this in how they measure success.
The problems come from the fact that those of us who run things—people in our forties, fifties, and sixties—use metrics that were developed by our parents for their world, that tightly controlled Mad Men world where everyone was expected to be the same, not just in what they wore or bought but in what they listened to or watched or read as well.
The bestseller list?
It measures velocity. (A good essay on this topic, “The Meaningless Metrics of Fame,” came from Mike Briggs, husband of Patricia Briggs, earlier this week. I’ve also dealt with it.)
Reviews?
They only want new books, and then only at the time of release.
Brick and mortar bookstores?
They only have room for the latest releases, and then only the ones that are the most popular with their customers (whoever those folks might be).
Books have come late to this fight. Books have been available on demand for only about four years now, in the U.S. In other countries, there’s been even less time.
And we’re all still fighting over meaningless metrics, to use Mike Briggs’ term, because those metrics only measure things that were important around the water cooler, not things which are important now.
What’s important now?
She goes on to say:
The publishing industry isn’t even talking about new metrics. That idea hasn’t occurred to traditional publishing, and indie (or self) published writers are constantly seeking validation from the old system—trying to figure out ways to game the bestseller lists or to get a fantastic review from somewhere that has old-world prestige . . . But at some point, traditional publishers are going to have to develop new ways to figure out which products sell well and which ones don’t. All of their systems—from sales figures (which measure books shipped not books sold) to bestseller lists to critical acclaim—are based on the old models.
Kris is a very experienced with publishing, but her last point conflates internal accounting with marketing. Publishers DO know which products sell.
The primary measure of success in a financial enterprise s not new. It’s been around for 100’s of years. And on demand and long-tail markets don’t change it.
The measure is how much a product or service contributes in profit to the bottom line. You take revenues, minus expenses, and that’s the contribution that product (a book in this instance) makes to your total profit. Or to covering your fixed costs.
Booksellers have measured the success of their books with actual or estimated profits for quite some time. Publishers already know which books sell well and which don’t. No accountant in the world is going to report books shipped as the measure of success. And they don’t. The very fact that publishers have a profit and loss statement and show returns on royalty statements demonstrate that. They look very closely at actual and estimated profits. And to they do this by channel, which is reflected in a small way when they break out ebooks on royalty reports. This is all basic accounting.
Here’s an example. Until Ender’s Game the movie, Ender’s Game the book hadn’t appeared on any best seller list since it was first released. And its release was 30 years ago! Yet over the years Tom Doherty touted its sales numbers many times. Tom knew that book was gold. Of course, he did. Because he doesn’t use best seller lists to tell him what’s selling well. He knows those lists are marketing devices. He has the real data in house. Why would he need a list to tell him anything?
And Tom isn’t going to use books shipped either. Tor may report those numbers to Publishers Weekly for marketing purposes, but he will always multiply that number by an expected return rate to estimate sales. He wants to do that. Because books shipped is meaningless to the bottom line and everyone knows it, including the auditors.
Publishers are well aware of the long tail. They see it with books that have been rotated out of the brick and mortar channels but are still selling in the online ones. They report it in their annual statements. They know the online channels work differently from the brick & mortar ones.
The measure of success is still the same as it ever was—how much profit is this property contributing to our bottom line?
Marketing, however, is a whole other ball of wax.
What the long tail and on-demand allow are marketing campaigns that are impossible in the brick & mortar channel. In brick & mortar you have a limited time to advertise (roughly 8-15 weeks). After that period, most books are rotated out of the store. This means that any marketing for those brick & mortar buyers MUST coincide with the period when the books are in the stores.
But the online channels open up all sorts of other opportunities. You can market forever. And the contribution margin is always positive. The online and POD costs are easily recouped with each sale. (Publishers are well aware of this profit potential; this is why we have so many making grabs for backlists.)
And I see publishers taking advantage of these new marketing methods. This last week I saw publisher books not currently stocked by brick & mortar retailers on BookBub, BargainBooksy, and Book Sends. And the industry isn’t totally focused on new books for reviews. I just had a large newspaper agree to look at my book that was published four months ago. Still, Rusch is right when she says that the publishers haven’t adapted one of their biggest marketing tools to take advantage of the new opportunities–they haven’t done anything with the best seller lists.
Amazon has lead the way in creating new ways of marketing books to different types of readers with their best seller lists. These lists create the excitement of discovery.
But every one else is still reporting weekly sales on the big lists.
If I were a publisher, I’d be asking USA Today to provide more than just the weekly view of the top 150 books. And USA Today is THE list to watch because their numbers are not based on units shipped to a sample of stores, but actual sales. Here are some lists that readers would be interested in.
Let the reader select the view they want to see!
Avid readers will gravitate towards the shorter time periods. Those that read fewer books will gravitate towards the longer periods. Everyone who wants to discover something new will go to the contender and mover lists.
This is about marketing. Not publishers measuring success.
And then armed with those numbers guess what the publishers will do? They will go back to the brick & mortar venues and pitch to have some of these same books carried in the stores for the first time (some publisher books are printed digital first) or carried again.
Art is a huge part of what draws me to science fiction and fantasy. I still have the Hildebrant LOTR calendars I got back in the early eighties.
On the web you can browse awesome work on DeviantArt.com and CGHub.com. But something that’s been around for much longer is Spectrum: The Best in Contemporary Fantastic Art. It’s an art annual released each year that highlights the best art produced that year in Fantasy, Science Fiction, Horror, and the Surreal.
This year will mark the 21st year of publication. Spectrum has become the broadest distributed art annual in the world. Having art included in Spectrum is top honors for artists around the globe.
So why am I telling you this?
Well, Devon Dorrity, the guy who helped me pull together my covers, not only had his sculpture “Queen of the Seas” included in a past annual, but he’s just won a spot in this year’s annual with the cover he created for his wife’s book, Awakening. It’s a big honor.
Here’s the description of how he put it together.
For the book cover for Awakening by Christy Dorrity, Devon Dorrity selected the cover model, Shelbilee Lee, from hundreds of local models. Jason Morrison, a photographer friend, was hired to do the photoshoot. Devon purchased the wig, fingernails, and props from Amazon. Then Dennis Dorrity, Devon’s brother, did an illustration of the photo selected from the photoshoot. Devon then composited the illustration and the photo together blending the two to emphasize the best of both pieces. After applying various effects and custom color, the piece was finished.
After the book’s publication, Devon submitted the cover to Spectrum with Dennis Dorrity listed as the Artist. Dennis did the illustration that plays such a heavy role in the finished piece. Devon was listed as the Art Director/Designer. Spectrum announced in the end of March that the Awakening book cover was selected for inclusion in The annual. Spectrum 21 will be released in November 2014.
Awakening: Book One of The Geis is itself a clean young adult fantasy filled with Celtic mythology, magic, romance, and mystery. And it’s been getting great reviews.
“Dorrity invites her readers to a céilí that will quicken the pulse of anyone with Ireland in their blood! AWAKENING will draw you deep into the mysteries of the Celtic worldview—and leave you wanting more of McKayla and her fascinating Aunt Avril!”
– KERSTEN HAMILTON, author of Tyger Tyger and the Goblin Wars books“I thoroughly enjoyed AWAKENING, a captivating and unique debut novel that creatively integrates Irish dance.”
– CHRIS NAISH, Riverdance member and Creative Director of Fusion Fighters Irish dancers.5 Stars! “AWAKENING is an exciting mashup of fantasy, action-adventure, and mystery, with a touch of romance thrown in for good measure.”
– KATE MCCURRY, top 100 Amazon reviewer
How many authors do you know who have unlocked the achievement of having someone from Riverdance plug your book? Awakening right now is free. If you like YA fantasy with a bit of romance, this is the perfect time to give this new author a go.
“When you are really and seriously stuck and you hate everything you’ve written, BINGE READ.”
That’s from super author Maya Lassiter. If you recall, she did a great guest post here on her creative process. I love this technique for getting unstuck. When you binge read (or watch), not only do you see other options that you might take and adapt for your purposes, but those other options also spark whole new ideas.
I just used this with the battle I’m writing for Curse. I wasn’t to the hate stage; I actually liked what I had. But I didn’t quite know how to get it to where I wanted it to be. So I decided to read some books by one of the masters of historical battle.
I binge read and listened.
And enjoyed the heck out of both the reading and the ideas I gleaned for my sequence.
Binge read.
It’s an awesome creative technique.
I have finished the rewrite of act 3.
In my last update, I said that I’d written almost 50k words, but Word was counting everything in the document I was working in. I really only had 36k words at that time. The material now totals 50,000 words. A pretty hefty chunk that I’ve broken into eleven chapters.
If you recall my process, I’m basically at the end of step 7. Next week I will start my line edits. The week after that I hope to make the copy edits. I know I’ll do those more quickly than I did it the last time because Geoffery Kidd wrote me back in December and shared a wonderful way to quickly find typos and unclosed quotes that should help speed the process this time. His tips won’t take care of everything, of course, but every bit counts. Once I complete the copy edits, we’ll be almost to the finish line.