They had speakers, as well as free appointments available with agents and editors.
Workshops were set up in five "tracks": Media/Promotions, Book Production, Publishing, Alt Publishing, Writing Technique. This really wasn't a how-to write conference for beginners. I'd guess there were about 150 - 200 people there.
Registration included an 8 ½ x 11 bound program that was very high quality. As well as all the schedules and information about all the agents, editors, and speakers, it contained lots of articles, some written by the professionals making presentations at the conference, and some by other experts. It's the kind of program you'd expect to pay a substantial amount of extra money for.
There was also an exhibitor's room, with tables and information from a variety of vendors. Most of those were self-publishing related.
These are the notes I took as I sat in the workshops. Making notes of what was said does not necessarily mean I agree with the speaker. Also understand that I made these as I listened and there could well be inaccuracies. Some of the notes have things that don't seem to fit with what came before or after. These are responses to questions, which diverted the speaker from his/her prepared lecture.
Ron Frishman He is President of Planned Television Arts. www.plannedtvarts.com. He is one of the most powerful and energetic publicists in the media industry. He works with many of the top editor, agents, and publishers. Clients include Stephen King, Bill Moyers, Howard Stern, Mark Victor Hansen, Arnold Palmer, etc etc. He's also the author of books like Guerrilla Marketing for Writers and Networking Magic. Has a new 4-book series titled Author 101.
As well as all the above summary of credentials, he's a very dynamic speaker, and I enjoyed listening to him. He has hundreds of stories to tell about his experiences and a great sense of humor to go with them.
His advice emphasized non-fiction, but the principles apply to fiction as well. For example, usually with fiction, we've had to research something for our novels, and have become an expert in that subject. Or our novel can be in some way tied into today's headline news.
In things like guerrilla publicity, the point is to get publicity for as little money as possible.
Titles sell books! Gave examples of dull titles that were tossed in favor of jazzier choices.
Publishing a book gives your credibility. It's your ticket to Oz.
Nothing happens without publicity. You can be as rich and as famous as you want to be for as long as you want to be, if you understand and undertake publicity. This is his "theme" and he repeated it numerous times throughout his talk.
Every day there are more than 4000 radio and TV shows that book more than 10,000 guests. They want you.
You pay for advertising. Publicity is free. A story about you in a newspaper is worth 10,000 times a paid ad.
The key is to remember that the media doesn't care about you or your book. Media people care about ratings. You have to be newsworthy in some way.
He described what makes a good press kit. It needs to be in a folder, preferably one that's shiny. Put a copy of your book cover on the front.
Press kits include: Press release Current biography Suggested interview questions Topical discussion point Excerpts from the book A Quiz Testimonials A professional photo, jpg and print Press clippings Contact information
Your press release starts with a "headline" of some kind. It must include who, why, what, and where. It's good if you can be controversial. Another good technique is to offer a solution to a problem. The example he offered was the press release for a guy who wrote a book on how to avoid getting speeding tickets, and how to avoid fines if you do get one.
Another suggestion is to claim a title of some kind. If you can't come up with anything else, make up your own holiday, like National Love Your Beagle Month. Anything that sets you apart.
Present your information in bullets. Media people do not have time or the desire to read paragraphs. He said to always think of media people as having ADD.
Your bio should only be one page. It has to tell what makes you a special person, different from everyone else.
Media people have not read your book, nor are they likely to, so you have to provide suggested interview questions. About 10 - 15 questions are good. After each question, include a note indicating how long your answer to the question will take. This marks you as being a professional who understands their time constraints, etc.
Include a short quiz. It should have either 5, 7, or 10 items. These are the numbers that work. Eg: Other that driving slowly, what are five ways to avoid getting a speeding ticket.
Your photo should be a professional photo. Snapshots are not recommended. It must also be relatively new.
If you don't have testimonials or press clippings, find stories about your subject to include. But remember, having a book gives you credibility, and that enables you to obtain the testimonials and press clippings.
Publicity begets publicity.
You must have a website. Your press kit must also be on your website. You also need streaming video, etc on your website to show excerpts from interviews, etc. Web site must be kept current. Include a schedule of speaking events and media opportunities, and obviously, links to purchase your book.
It's also essential to have your own domain name.
Books don't make money. Again, books give you credibility so that you can make money other ways. One way is a membership website, where you offer something, preferably related to your book or area of expertise to member. See www.membership101.com
You don't just pop a press kit in the mail. You call or e-mail first and get the recipient to agree to receive it, then mark it "requested material."
When you call, be prepared to give your "elevator speech." This is a speech that tells who you are and your USP in 30 seconds, the time it takes an elevator to go up a floor. USP is your Unique Selling Proposition.
You must always show enthusiasm. People care more about the passion and energy with which you speak than what you are actually saying.
He says that negative personalities are contagious and a "cancer." You must get people with negative personalities out of your life.
When you're trying to contact media people, it usually takes about seven tries to get through, and then nine noes before you get a yes. You have to look at each no as being one step closer to the final yes. Also remember that a no now might be a yes later.
Your hook is something that keeps you up in the middle of the night, or if possible, what's going on in the news today.
Never sign a document with a publisher without an agent at the least, and if possible, a literary attorney.
If you're self-published, you must have a distributor.
Do your homework first on who will be interviewing you. Find out all you can about that person.
The most important media is radio, and of that, the most important is the 7 - 9 a.m. car radio. You can find radio stations for free at the library in books like "Broadcasting & Cable Yearbook." You call the station and ask if they have a morning show. If they do, ask who is the producer and when is the best time to call him/her. Then you call, and give that person your elevator speech. If all you can get is an operator, explain that the producer has listeners who care about one of the following: money, relationships, health & fitness, and sex, and give your elevator speech to show that you can provide information that listeners want, then have the operator page the producer.
When you make contact with the producer, offer to send the press kit.
Approach small stations, like 1,000 watt stations first, and practice with them until you become polished.
Anytime you go anywhere for anything, get yourself booked on a TV station. Do lots of local shows and make tapes of your appearances. Then put the tapes on your web site and/or DVD.
You are a celebrity because you've written a book, and local papers will love you. Call the editor and give your elevator speech. This is how you obtain press clippings. Work your way up to the bigger newspapers.
The key is that you will somehow solve a problem for listeners.
Networking is about giving. If you give without expecting something in return, you will get it back ten-fold. Write your book for the purpose of giving. Do it to give back, not to make money.
Six words every author wants to say: "Nice to see you again, Oprah." But the way to Oprah is through Hicksville—you have to do local first. You have to pay your dues, and work your way up.
Producers know each other, and they talk to each other.
You should have media training before you do any interviews. Have about five main points and write them on cards. Take control of the interview—don't wait for the interviewer to ask you questions. Learn how to "bridge"—turn the answer to a "dumb" question to exactly what you want to say. And don't say anything you wouldn't be willing to write out and sign your name to. Nothing is off the record, ever. A reporter is not your friend.
Remember, a book provides credibility, rather than being a money-maker. Back-of-the-room sales makes money. Back of the room sales are things like tapes, newsletters, etc.
Do seminars, etc. for free, as a public service, etc. But tape them, and then sell the tapes later as a product. People will want more, and will buy other products from you, including your book.
Do a newsletter, at least once a month. If possible, twice a month. Weekly is too often.
Go to BEA.
If you have a book, have it with you at all times—you never know who you will meet.
Always try for OPM – Other People's Money. Exchange web links, etc. Be nice to people and work with them. "Scratch my back, and I'll scratch yours" mode of operating.
You can get his "million dollar rolodex" free at www.rickfrishman.com
Watch TV, read newspapers, and listen to radio every day.
Vijaya Schartz. She's won multiple awards for her novels. She writes paranormal suspense, fantasy, science fiction, and romance. She pioneered internet talk radio, hosting a show for writers. She's made a name for herself in electronic publishing and explored niches like Visionary Fiction and Sci Fi romance before anyone heard of them. www.vijayaschartz.com
She's another passionate speaker who clearly believes in what she has to say.
E-books means electronic format. E-books appeal mostly to younger people. They're growing up with computers. Many e-books are now also available in print. (All of hers are.) E-books are low cost to produce.
Advantages are: you don't need an agent, there isn't a slush pile, there is no postage and printing expenses to submit, someone actually reads your stuff rather than arbitrarily rejecting it, and the process is usually very simple.
e-book publishers have their guidelines on their web sites. You absolutely have to follow their formatting guidelines.
The "e" is starting to stand for "everything", not just electronic. She emphasized several times that e-books are just a part of the publishing future.
There's a short time, often just a few weeks, between acceptance and publication in an e-book. However, the print version can take six months or more after the e-book comes out. It usually won't appear in print if the e-book does poorly.
E-books are especially beneficial for first time authors, not because of low standards, but because the market is huge.
E-book publishers usually don't pay an advance, but they pay royalties every month. Print publishers will pay an advance, but you don't get royalties until much later, and only after the advance has been paid back.
To be successful in e-books, you must be prolific. They want lots of books, and you must be able to produce, produce, produce. They set tight deadlines, which can be a good motivator. You must be prepared to keep writing, but it's good discipline.
Every publisher has a niche, but right now there is a print publisher for every niche. The biggest niche now is women's fiction. Woman buy about 80% of all books sold, including books purchased for men.
She provided a short list of top-of-the line e publishers. Her publisher is Triskelion Publishing, and she's extremely pleased with them. Search the Internet for publishers. Investigate them the same as you would a print publisher.
The top-of-the line e-publishers have become very popular, and it can now take up to six months before a writer hears back from them.
E-publishers are willing to fit into print publisher's categories, but very open to books that don't fit any categories. Vijaya writes futuristic romantic suspense.
E-publishers have more current information on what people want.
E-publishers will do books of any length—it doesn't matter to them if the file is large or small. In fact, many authors write as many as four shorter novels a year for e-publishers and make a very good income doing so.
Readers are younger. Young adult books are very "hot" right now, and an e-book publisher can get books out while the market is hot. Erotica is also very hot—check out www.ellorascave.com if this is what you write.
E-books are a "test" for the print book. E-publishers often have good editors who are willing to work with new authors.
E-publishers like to do series books, with a different author for each book in the series. They provide a brief description of character, plot, and setting. If you can write to a deadline, and can do this kind of writing, there's a lot of money in it.
E-publishers are very close to their markets. Many readers check the web sites every day, and e-publishers release new books almost on a daily basis, and they sell them that fast.
E-books sell for $5.99 each, but they sell thousands. Royalties average 35 - 40%, and are paid monthly. If you can write fast and well, you can earn thousands a month.
Agents have not yet penetrated e-publishing. Now is the time to get in. In a couple of years or so, it will be as difficult to be e-published as it is to be print published, and will likely require and agent, etc.
E-publishing is the future.
Like any other publisher, you have to read the guidelines and abide by them.
E-book publishers love writers and will actually have conversations with them.
You have to have a website—potential readers want to know about you. Your web site must be professional—your books must be on the first page. Include excerpts from reviews and a 100 word blurb about your book, then a link to where they can download the book immediately. Readers have to be able to get the book in less than three clicks.
All your promotion must be included on the web. Your readers are on the web. When they google your name, they should get at least 400 hits. Your home page should be the first hit, but you have to get your name on other pages.
Participate in e-mail loops, blogs, establish a reader's group on yahoo, link to other writer's pages, etc, etc. etc. and get your name out there.
Establish a list of readers and get to know them through your web activities. Offer a contest from your web site and offer a free book, etc.
Even if you don't have a website, at least have a blog and post something to it regularly.
To be successful, you must be active on the web.
Check out authorsden.com. You can have a website there for not much money.
Print books published by e-publishers sell mostly on amazon.com, so the web is involved even for print.
Be sure to have a link to where your books can be purchased in your e-mail signature.
Have a way for people to contact you, but never put your home address on your web site.
Put all your information, including web site(s) on your business cards and hand them out. There are lots of contests open to e-book authors. Enter some and receive an award. Then your promotional materials can describe you as an award-winning author, not just an author.
A rejection doesn't necessarily mean anything. Talent is not the number one priority in getting published. Rejections are not personal. They are usually just a matter of timing. The people who get rejected the most are the ones who are submitting the most and are also the ones getting published the most.
Jerry Simmons. He has worked for Random House, Warner Communications, and 23 years with Time Warner books. He retired as VP Director of Field Sales from Time Warner. He's worked with a variety of authors, including Nicholas Sparks, Michael Connelly, Sandra Brown, Scott Turow, and Madonna.
www.WritersReaders.com He has a free newsletter you can subscribe to.
His intent is to give an understanding of what goes on in New York. It is important for an author to have an understanding of what goes into getting a book published, regardless of what kind of publishing you choose.
You need to understand marketing, distribution, etc to effectively compete.
99% of authors have no understanding of fact that big print runs mean many books will potentially be returned. In big print runs, often what happens is that fewer books are sold than are returned. When this happens, the author's career is destroyed before it ever really got started.
Publishers are in the business of shipping books, period.
The worst thing an author can do is let the publisher make all the decisions. Ten percent of the books get 90% of the attention. The other books are just listed in the catalog, and get no personal attention.
There are thousands of authors available. Publishers see authors as expendable, simply because there are so many. Authors have to understand the process to have any chance of success.
He repeated this many times: authors have to understand the process.
There are six major book retailers: Amazon, B & N, Wal-mart/Costco, etc. Self-published and small presses find it difficult to sell in these markets.
Shipping lots of books means a shorter shelf life, as "old" books are always being moved out to make room for the "new" ones. The unsold books are returned. Publishers want to continue shipping. This is what they are about. The actual number of books sold has been decreasing each year. More books are being shipped, but that is not a reflection of sales. Retailers don't pay for shipped books until books are sold. So the author won't see royalties for months. Most authors have no idea how poorly their books have sold until too late.
There is a 3-year database of all author sales. Publisher can access this. Any books sold to book retailers will be in the database, so it's easy to find out if your sales are greater than your returns.
Negotiate with your publisher to have fewer copies of your book printed and shipped.
In publishing, it's not necessarily how many books go out, it's where they go. Ask where your books will be going.
From the day you sign the contract, you want to be a part of the process. You want to be involved in every decision. You won't get rights of approval over things like cover, category, etc. You probably won't even get to actually make decisions, but you can have input into the decisions made. But you have to first be able to speak intelligently about marketing.
The best way to learn is to visit bookstores on a regular basis. Scan categories in which you are writing and get a sense of what is going on. Look at how books are packaged, etc. This helps make you more aware and more intelligent. Publishers spend a lot of time on packaging and merchandising. What you see in bookstores won't be random guessing. Eg if you never see white covers, it means that white covers don't sell, not that you should demand a white cover on your book so that it will be different than everyone else's. But you can offer your ideas on what you have observed.
Being involved doesn't mean you make decisions—it means you can offer input. Input in only welcome if you're aware of what's going on in the marketplace.
Publishers are risk-aversive. That's why you have to be aware of what's going on. Looking at information like Publishers' Weekly is fine, but your time is better spent in bookstores.
The biggest question of importance to publishers is "can we sell this book?" "Sell" means ship.
Rejections often have nothing to do with you or your story. They are usually simply a matter of timing.
Dollar sales of books show an increase, but only because price of books have increased. The actual number of books sold has decreased.
Publishers like to ship a whole lot of books to keep their market share and their space in retail stores. The incremental cost of printing and shipping extra copies isn't that high.
Authors must develop a relationship in-house. Establish a relationship with someone in sales or marketing, then you can get the "numbers" you need for your basis for involvement.
Agents have a closer relationship with publishers than they have with you as their client. Authors need to remember that, and to remember that agents are not going to annoy key editors.
Publishers are constantly on the search for "product." It's lots easier to get published than it is to sell books.
Small presses are better at focusing on your books and what you want to do, but they don't have the distribution network that big publishers have. If a small press is particularly successful, the big houses will flood that market to maintain their dominance.
Publicity is what sells books.
Big house distribution is along these lines: about 30% to the big chains; about 20% to mass market outlets (grocery stores, etc.); and the remainder to "other," which includes independent bookstores.
If you're self-published, you can try to get in the big chains, but you have a better chance at getting in the independents.
Publishers don't make much money on hard-cover. They make some more on soft cover. The real money is made in mass market.
Don't be discouraged about using a big publisher, just educate yourself and become involved in the process. Then you have an opportunity for effective input.
It's all about selling. You have to sell more than are returned. To be successful, you have to be smart. If you're not smart, you'll be ground up and discarded, and replaced by another author.
Your "sell through" has to be above 50% on mass market. It has to be at least 60%, preferably more, for trade paperbacks.
Being self-published or published by a small press isn't a detriment to a big publisher, if you've shown ability to promote and sell copies.
The next workshop was labeled "Test Marketing. Because that section was short, there were two other speakers who provided additional information.
Mary Dougherty is a self-publishing specialist and trainer. She teaches new authors through her "Boot Strap Publishing Classes."
She gave at presentation describing the test marketing plan she uses for her clients.
She helps authors make arrangements to have 100 copies made of their books. This will cost about $5.00 a book for decent quality, plus something for cover design. The first 50 do not have an ISBN. The second 50 will have a temporary ISBN. There are ways to get temporary ISBNs, one of which is through her company.
The first 50 are distributed as follows: 10 for reviews and endorsements; 10 to agents and small presses; 10 to organizations and special markets; 10 to people who believe in you; and 10 to the press.
Of the remaining 50, 3 will go for "registration" with distributors, etc.
The remaining books are sold to family and friends, for $10.00 to $20.00 each to cover the cost of having all 100 printed.
From the responses to this, you can determine whether or not to have the book published at all, and if so, whether to go with a traditional print publisher, self-publish, e-book, etc. If it is published, you already have the reviews and endorsements.
If decide to publish, then get permanent ISBN, which means book will need to be re-listed with distributor, etc.
Test marketing is really the same as sending out ARCs (Advance Reading Copies), except that she advocates sending a high quality copy out.
She says people sell more books to special markets than to bookstores.
netpub.net/bootstrap
Paul McNeese of Optimum Performance Associates, which is a "resource provider." www.opapublishing.com
A short presentation. Don't plan on making money from book sales. A book is just provides leverage for an idea. It's a platform for something else. People who read books think authors are experts. This perception is where the money lies, not in book sales.
If you're writing children's books, plan on self-publishing. The market is totally overwhelmed, and it will take at least 5-7 years longer to be published.
Once a book actually makes it to the market, it will be replaced by something else by 90 days.
Book publishers do next to nothing in the way of promotion except for special authors. For most of us, any promotion is up to us, the author.
The time to build "assets" is even before you begin your book. An asset is a specific person to whom you can promote your book. You need thousands of them. You get them through blogs, employees/co-workers, personal relationships with celebrities or VIPs, e-mail, newsletters, etc, etc.
Books cost money. Additionally, people no longer like to read. This means books are a slow way to spread ideas.
He recommends the "Seattle Times Media Access Guide" which is available free at http://seattletimes.nwsource.com/contactus/media/media_access_guide.pdf
Its emphasis is on being "inspirational and informative" and readers won't find hard news. It's articles, essays, etc. And they describe it as "a venue for authors."
Right now they also broadcast over the net at achieveradio.com, but will soon have their own at goodlifenewsradio.com
They say magic doesn't happen just because you are with a publisher. Authors have to make their own magic.
Arizona is a test market heaven, because of the variety of people who have moved here from somewhere else. But those who want to be successful here must meet a niche market.
The purpose of sending to reviewers, etc is not necessarily to get reviews, it's to get endorsements.
The key is to get off your chair and get in front of people. Agents might help you, but it's up to you.
Someone, somewhere, needs to hear your story and you are good enough to write it. You must allow your true voice to be unstoppable.
Test your title. Say it to people. They have to "get it" immediately. If they don't, it's not a good title.
The key to writing today is information on demand.
Www.azgoodlife.com if you'd like to submit an inspirational article about your writing experience, etc.
Gerald Weinberg has written more than 400 articles and 40 books on a variety of subjects. He also writes novels and consults. www.geraldmweinberg.com
Natural outgrowth of writing is counseling.
Every writer runs into obstacles and stumbling blocks, but "writer's block" is a myth. To be a successful writer, you have to be a problem solver.
Writing is many things. "Writing down" is not the same as writing.
Always keep going and don't worry about being perfect. This doesn't mean to turn in sloppy work or give agents/editors a reason to reject your mss.
Every author needs a "first reader." A first reader is a person you can trust to read and give you truthful feedback. You must choose this person carefully. But as an author, you must also interpret the feedback.
Deadlines can be paralyzing to some. You have to know yourself and know how you will react and how can best handle situations before signing contracts, etc.
He has lived in areas where he picks up "fieldstones" and used them to build walls. He compares writing to that. You pick up a fieldstone (rock) because something about it interests you. Eventually you have a collection of rocks that say something to you, then you use them to build a fieldstone wall.
To write a book, you start with a collection of interesting things. Brick walls usually aren't interesting, and books written from "bricks" are very hard to make interesting.
But the "fieldstones," which are "interesting ideas" you collect can be used to make an interesting book. You must always have something available on which to write and something with which to write. He uses index cards and then types them up on odd moments. When he starts getting quite a few "fieldstones of a particular color or pattern", that is, a collection of interesting ideas and observations about something in particular, he opens a folder and transfers his "collection" there.
He says he "finds" his books by looking through his "fieldstone collection." If you're observant, you will always have lots of ideas in your collection, and you'll never be stuck. "Play" with your fieldstones/ideas and you'll find lots of pieces that will go together.
There is no need to limit yourself to only one story at a time. Write on something until you have written all that you have to write at that time, then turn to something else and work on it for awhile. He can't give a count of how many books or articles he has in progress right now
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© 2006 Sandra I. Smith