Sometimes on the weekends, I volunteer at a secondhand bookstore. Most of the books we sell were donated, either by individuals or the library. In the store, we have a bulletin board where we put all the interesting, often unusual, and occasionally sweet things we find tucked inside the pages of the books: a handwritten letter, a partially completed correspondence chess postcard, a faded Polaroid of a smiling couple posing in front of a Cadillac convertible. Every time we find something, I wonder about its origins. Who put it there? Was it put there for safekeeping, or maybe as a bookmark? And does whoever put it there miss it, or even know it’s gone?
My curiosity—what else has been discovered between the pages of a book?—led me to a great essay in the New York Times. In it is a list of the oddest, most surprising things that employees and patrons of used bookstores and libraries have found: a used Q-tip, a bullet, a baby’s tooth, $40,000, and a (cooked) slice of bacon. (Seriously, bacon? Did the person get full and tuck it away for a snack? Or did they check out a copy of The Jungle from the library—perhaps hoping for a good action-adventure—crack it open over a hearty breakfast of bacon and eggs, and, several chapters in, throw the bacon strip down in disgust, pledging never to eat meat again? I challenge you come up with a plausible explanation for that one.) And then there are the things that authors confessed to leaving, either deliberately or accidentally, inside the pages of a book: dried flowers, favorite photographs, squished insects, rejection letters from literary agents, and a forged diary entry for “S. Plath” (“Saw the most delicate bell jar today in an antique store…”).
Kind of makes you want to search your own bookshelf for hidden surprises, no?
May 28, 2009
May 21, 2009
Pick a genre!
I recently came across a great post on The Indie Author blog about distinguishing memoirs from reference books, and it got me thinking about the difficulty publishers often have in fitting a book into a category. You might say, “Hey, isn’t it a good thing for books to cross boundaries? Doesn’t that mean they’ll get a bigger and more diverse audience?” Not necessarily.
Sometimes, authors believe that they’ve written a reference book containing advice on a particular topic, when really what they’ve written is a memoir detailing their own experiences with that particular topic. If the author relates anecdote after anecdote without explaining how the incidents shaped or changed his understanding of the topic, and without providing tips on avoiding those pitfalls, he has not written a how-to book. It might still be an interesting book, but it’s not going to appeal to readers who want advice or help.
April Hamilton of Indie Author provides this example:
The author provides a series of anecdotes drawn from her experiences as a social worker serving the needs of battered women. The jacket copy suggests the book is a self-help manual for battered women, their friends and family. Each anecdote follows the same pattern of... identifying the client’s specific needs or fears and serving those specific needs or fears. But because each client’s circumstances are different and the author’s methods for… serving them are different in each case, no general conclusions can be drawn by the reader. The author hasn’t presented her anecdotes in a framework of methodology or instruction, nor concluded each story with an instructional passage explaining how readers can extrapolate from the story to address their own issues.
In other words, the book doesn’t deliver what it promised. This doesn’t just mean readers have been misled. It also means the book might be marketed incorrectly. Publicists contact relevant members of the media and book reviewers who specialize in a certain genre. If they contact self-help book reviewers and magazines that deal with women’s issues, those reviewers and media outlets would not find what they were looking for in the book, and it would likely receive a more negative review than it would if it were reviewed by the proper people—those interested in memoirs or tell-alls.
As an author, it’s important to make sure that you provide what’s promised. And if, after writing your book, you find that it doesn’t really fit into the category you envisioned, it’s in your best interest to adjust your expectations a bit; let your editor, publisher, and publicist know what genre your book fits into and the goals you have for it. This way, your information gets to the people best able to appreciate it—it’s a win-win.
For more tips on meeting market standards for your genre, check out these sites: Independent Book Publishers Association, Automatic Bestseller Blog, and Query Tracker.
Sometimes, authors believe that they’ve written a reference book containing advice on a particular topic, when really what they’ve written is a memoir detailing their own experiences with that particular topic. If the author relates anecdote after anecdote without explaining how the incidents shaped or changed his understanding of the topic, and without providing tips on avoiding those pitfalls, he has not written a how-to book. It might still be an interesting book, but it’s not going to appeal to readers who want advice or help.
April Hamilton of Indie Author provides this example:
The author provides a series of anecdotes drawn from her experiences as a social worker serving the needs of battered women. The jacket copy suggests the book is a self-help manual for battered women, their friends and family. Each anecdote follows the same pattern of... identifying the client’s specific needs or fears and serving those specific needs or fears. But because each client’s circumstances are different and the author’s methods for… serving them are different in each case, no general conclusions can be drawn by the reader. The author hasn’t presented her anecdotes in a framework of methodology or instruction, nor concluded each story with an instructional passage explaining how readers can extrapolate from the story to address their own issues.
In other words, the book doesn’t deliver what it promised. This doesn’t just mean readers have been misled. It also means the book might be marketed incorrectly. Publicists contact relevant members of the media and book reviewers who specialize in a certain genre. If they contact self-help book reviewers and magazines that deal with women’s issues, those reviewers and media outlets would not find what they were looking for in the book, and it would likely receive a more negative review than it would if it were reviewed by the proper people—those interested in memoirs or tell-alls.
As an author, it’s important to make sure that you provide what’s promised. And if, after writing your book, you find that it doesn’t really fit into the category you envisioned, it’s in your best interest to adjust your expectations a bit; let your editor, publisher, and publicist know what genre your book fits into and the goals you have for it. This way, your information gets to the people best able to appreciate it—it’s a win-win.
For more tips on meeting market standards for your genre, check out these sites: Independent Book Publishers Association, Automatic Bestseller Blog, and Query Tracker.
May 14, 2009
Book Signings: Part III
Last year I posted parts I and II of a series on book signings. Today’s post covers what the bookstore does to prepare for an author signing. You can view the earlier posts here:
Book signings Part I
Book signings Part II
The event coordinator at any bookstore is a busy person. S/he also has the same goals you do: reach a lot of people and sell a lot of books. They work hard to make sure your event is a success. Once you call in the store, the event coordinator needs to evaluate if this is a good event for their store. Most likely they will talk to you about your own marketing plans so they can be sure you’ll also be promoting the event and getting attendees. After a date is set, they will post the event on their online calendar (if the store has one) and may also create flyers, a poster, or send an alert to their contacts via a newsletter or e-mail blast. Or Twitter nowadays. Many also work with local media to generate publicity. No matter what the store does to promote the event, the author should also be working hard to generate awareness of and interest in the event.
The event coordinator is also a font of event wisdom. If you have any ideas for your event (besides a basic reading and Q&A), the coordinator can let you know which ideas should work best for his/her store and may have even more suggestions for you. Be sure to update the coordinator no matter what you plan, so you can both be sure the store has the right room and equipment ready.
A few weeks before the event, the store will place an order for your books based on the number of attendees they believe will show up. Without a strict RSVP policy, it’s pretty impossible for anyone to guess how many people will attend. You may want to keep an extra carton of your books in your car just in case. The store will do what they can to accurately predict how many books to order, but just as they don’t want to have too few and miss out on sales, they also don’t want to have too many that they would have to return. Many stores, however, will let you sign leftovers so they can be displayed and sold days after the event.
Once the day of the event arrives, the event coordinator is back in high gear! Getting the area for the signing ready can involve moving book shelves, taping off the area, putting out chairs, arranging audio/visual equipment, etc. They will also unpack the books so they are ready to sign, show customers where to sit, calm down the anxious author, and kick off the signing with a quick introduction.
Because of all the work that goes into planning and running a book signing, many stores may charge a fee to host an event or will require that you show a good sales record or plenty of proof of your own marketing and publicity efforts before they will agree to the event. It needs to be beneficial to both parties, and bookstores put a lot of manpower into making each event successful.
One of my favorite blogs is ShelfTalker, by Alison Morris of the Wellesley Booksmith. Among her semi-daily posts are quite a few about events put on at the store. I’ve mined a few of my favorites for you.
Here is a great “day in the life of an event coordinator.” Alison talks about an event at a school for author Jonathan Stroud.
This unique event was held at a farm. It's for a children’s book about animals, so the setting couldn’t be more perfect. An important detail to note: although 10,000 fliers were distributed, only 55 people showed up (which is still a great turnout). It’s a great example that all events need tons of promotion to get a good showing.
This article is a long post which summarizes numerous events at the store. It’s a great one to skim through for creative ideas.
If you have examples from other bloggers or stores, please feel free to share them. Best of luck with your own signings!
Book signings Part I
Book signings Part II
The event coordinator at any bookstore is a busy person. S/he also has the same goals you do: reach a lot of people and sell a lot of books. They work hard to make sure your event is a success. Once you call in the store, the event coordinator needs to evaluate if this is a good event for their store. Most likely they will talk to you about your own marketing plans so they can be sure you’ll also be promoting the event and getting attendees. After a date is set, they will post the event on their online calendar (if the store has one) and may also create flyers, a poster, or send an alert to their contacts via a newsletter or e-mail blast. Or Twitter nowadays. Many also work with local media to generate publicity. No matter what the store does to promote the event, the author should also be working hard to generate awareness of and interest in the event.
The event coordinator is also a font of event wisdom. If you have any ideas for your event (besides a basic reading and Q&A), the coordinator can let you know which ideas should work best for his/her store and may have even more suggestions for you. Be sure to update the coordinator no matter what you plan, so you can both be sure the store has the right room and equipment ready.
A few weeks before the event, the store will place an order for your books based on the number of attendees they believe will show up. Without a strict RSVP policy, it’s pretty impossible for anyone to guess how many people will attend. You may want to keep an extra carton of your books in your car just in case. The store will do what they can to accurately predict how many books to order, but just as they don’t want to have too few and miss out on sales, they also don’t want to have too many that they would have to return. Many stores, however, will let you sign leftovers so they can be displayed and sold days after the event.
Once the day of the event arrives, the event coordinator is back in high gear! Getting the area for the signing ready can involve moving book shelves, taping off the area, putting out chairs, arranging audio/visual equipment, etc. They will also unpack the books so they are ready to sign, show customers where to sit, calm down the anxious author, and kick off the signing with a quick introduction.
Because of all the work that goes into planning and running a book signing, many stores may charge a fee to host an event or will require that you show a good sales record or plenty of proof of your own marketing and publicity efforts before they will agree to the event. It needs to be beneficial to both parties, and bookstores put a lot of manpower into making each event successful.
One of my favorite blogs is ShelfTalker, by Alison Morris of the Wellesley Booksmith. Among her semi-daily posts are quite a few about events put on at the store. I’ve mined a few of my favorites for you.
Here is a great “day in the life of an event coordinator.” Alison talks about an event at a school for author Jonathan Stroud.
This unique event was held at a farm. It's for a children’s book about animals, so the setting couldn’t be more perfect. An important detail to note: although 10,000 fliers were distributed, only 55 people showed up (which is still a great turnout). It’s a great example that all events need tons of promotion to get a good showing.
This article is a long post which summarizes numerous events at the store. It’s a great one to skim through for creative ideas.
If you have examples from other bloggers or stores, please feel free to share them. Best of luck with your own signings!
May 12, 2009
Direct Selling, Part 1
Last year, we brought you a three-part series, Distribution Digest, on the ins and outs of book distribution. Today, in the first of two posts, we focus on direct selling, a form of book distribution that occurs outside the typical distribution system, often through sales by the author to a retailer, library, or other group. This type of selling applies primarily to self-published authors, as they own their books and aren't sharing profits with a publisher. This post will address the benefits of direct selling, as well as direct selling options for authors. So, without further ado, let’s get started.
What are the benefits of direct selling for authors? The major benefit is higher profits. When a book is sold the traditional way through the book distribution system, both the retailer (bookstore) and the distributor take cuts, leaving you—the author—with only a percentage of the retail price. But when you sell a book directly to a customer, you keep all the profits and pay only the printing cost for each book. You also have the freedom to charge whatever you’d like for your book. Sounds good so far, right? The benefits of direct selling don’t stop there. Through direct selling, you can develop a community around your book. Direct communication with your customers is a great way to build a fan base. You can gain also access to information about the people buying your book—information that would be otherwise unavailable. A list of previous customers (and their contact info) is extremely valuable for authors. After all, who’s more likely to buy your second book than someone who purchased your first book?
There are several direct selling options for authors. Probably the most common way to reach customers directly is through your web site. To make your web site an appealing choice for potential customers, there are several things you can do. First and foremost, the best way to compete with other online sellers is to charge less than the retail price. You can also create a more unique or enticing shopping experience for customers by offering incentives, like free shipping or signed copies of books.
A second option for direct selling is to make personal contact with customers. You can do this through mailing lists (snail mail or e-mail), your web site blog or message board, phone calls, or social networking services (like Facebook, MySpace, or Twitter). Another way to make contact with customers is through personal appearances. If you are doing a reading, signing books, or giving a lecture, bring copies of your book with you to sell to audience members after your appearance.
So there you go—the basics of direct selling. Stay tuned for Part 2: tips on direct selling.
What are the benefits of direct selling for authors? The major benefit is higher profits. When a book is sold the traditional way through the book distribution system, both the retailer (bookstore) and the distributor take cuts, leaving you—the author—with only a percentage of the retail price. But when you sell a book directly to a customer, you keep all the profits and pay only the printing cost for each book. You also have the freedom to charge whatever you’d like for your book. Sounds good so far, right? The benefits of direct selling don’t stop there. Through direct selling, you can develop a community around your book. Direct communication with your customers is a great way to build a fan base. You can gain also access to information about the people buying your book—information that would be otherwise unavailable. A list of previous customers (and their contact info) is extremely valuable for authors. After all, who’s more likely to buy your second book than someone who purchased your first book?
There are several direct selling options for authors. Probably the most common way to reach customers directly is through your web site. To make your web site an appealing choice for potential customers, there are several things you can do. First and foremost, the best way to compete with other online sellers is to charge less than the retail price. You can also create a more unique or enticing shopping experience for customers by offering incentives, like free shipping or signed copies of books.
A second option for direct selling is to make personal contact with customers. You can do this through mailing lists (snail mail or e-mail), your web site blog or message board, phone calls, or social networking services (like Facebook, MySpace, or Twitter). Another way to make contact with customers is through personal appearances. If you are doing a reading, signing books, or giving a lecture, bring copies of your book with you to sell to audience members after your appearance.
So there you go—the basics of direct selling. Stay tuned for Part 2: tips on direct selling.
May 1, 2009
Today is Buy Indie Day!
May 1st is officially "Buy Indie Day" so get out there and buy a book from your local independent. Before you turn off your computer and head out, add where you will be shopping to IndieBound.org's article and check out this inspiring post on ShelfTalker. (I might just pick up some gift cards...) If you're not sure where to go, these sites will help you find stores near you:
http://www.indiebound.org/indie-store-finder
http://www.delocator.net/
http://www.bookweb.org/index.html
Happy shopping!
http://www.indiebound.org/indie-store-finder
http://www.delocator.net/
http://www.bookweb.org/index.html
Happy shopping!
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