I got an email from a writer I met at a conference in Philadelphia, Kathleen G (the G is for "genuine talent" — in a couple years you’re all going to know about her). She wrote to ask, "So what do you think of the Kindle?"

In case you’re out of the technoloop, Amazon has begun selling a new e-book device called the Kindle. It’s the size of a hardcover book, and has a lot of cool features. Many people are talking about it as "the iPod of books." Here are some things I really like about the Kindle…

First, it’s the right size. It feels similar to a book. Small, light, and it opens up with a plastic cover. Like a book, you never turn it on or off.

Second, the screen is great. It’s not like your laptop screen — it’s a black-and-white (not gray-and-white) electronic ink screen, so it’s easy to read, even outside in the sun. I happen to be a person who enjoys reading outdoors, and none of the other electronic readers (the Sony Reader, the iLiad, the Rocket, the GemStar, SoftBook, etc.) gave me enough contrast or brightness to use effectively. It’s even got a magnifier, so you can make a quick adjustment to make the text larger very easily (which I’m discovering is a nice feature, now that I’m sneaking up on 50). 

Third, it’s easy to use. It uses cel-phone technology, so it’s not like waiting to log on to your PC. You order books right on the screen, and they are downloaded in about a minute using the same technology as texting. And best of all there’s NO COST to that feature. No kidding — Amazon is paying for it. (So you know, you can have your PC run on cel phone service with some companies, but it’ll cost you about $75 bucks a month.) So "free" is a good deal, since the Kindle will do some basic web browsing, some email, and can get your New York Times delivered to it every morning.

Fourth, the cost of books is cheap. Amazon currently has 90,000 books available. All new books are just ten bucks — a steal. Most older books (including classic texts) are between three and five dollars. Magazines are two bucks per month. The Kindle will hold about 200 books, which is a pretty good library to have at your fingertips. The rest you’ll have to back up on a memory card.

Fifth, there’s a significant "cool" factor to the Kindle. Small, easy to use, saves you from lugging a bunch of books in your travel bag, and sure to get you noticed on a plane.

On the other hand, there are some drawbacks to the Kindle…

First, I don’t know how else to say this: it feels cheap. I’m sure the first time I drop it, that plastic cover is going to break off. There’s just sort of a plasticky feel to it — one of the reviewers likened it to a Commodore 64 computer, and I find that an apt comparison.

Second, the design has some bugs to work out. The margin tabs on either side of the screen are huge, and since I have a tendency to hold a book in one hand, I kept accidentally clicking them and changing pages when I didn’t want to be. And one common criticism among reviewers is the fact that there’s a "Back" button, but no "Forward" button — which makes no sense when you’re on the Web.

Third, this isn’t nearly as good a screen when you get away from books. When you’re browsing the web, it’s tough to read the small print, and you can’t change the font size of anything on the web. I found it much harder to get around the newspaper than on my laptop. There are no streaming videos, no web layouts, no audio books (unless you load them through your laptop). The usefulness of the email account is limited.

Fourth (and here I’m being picky), you have to turn it off when on a plane, since it works on cel-phone technology. Bummer for those of us who travel and fill our time reading rather than thinking about crashing and burning while traveling 400 miles an hour, five miles in the air, in a steel tube. (In case you’ve never thought about it.)

Fifth, while books are much cheaper than buying the $24.95 hardcover, the cost of the actual Kindle is $400! Yikes…at that price, it’s going to take a lot of books to cover the cost. Which makes me assume that Amazon is hoping to sell this on the "cool" factor.

It IS cool, by the way. And as soon as the price drops to something much more reasonable, I’ll buy one. By then they’ll have a color screen, and the button design will be fixed, and they cover will be changed to feel more permanent. So I like it, but I’m not racing out to buy one for Christmas.

Hey, I’d LOVE to know what you think of the Kindle.

Fiona wrote to ask, "What happens when you have a good proposal, a finished manuscript that people want to read, and you know the market — but you can’t get anyone in the publishing industry to read the darn thing? Do you self-publish? This is an exhausting process, I must say."

My dear, welcome to the world of publishing. While I sympathize with your frustration over creating something you think is good but not having the connections to get it read, you should know that’s a fairly common problem. You need to seek publishing relationships. Go to a writing conference and show your work to editors. Introduce yourself to agents. Enter some contests. Be part of a critique group to make connections. Become friends with other writers and begin to get plugged in to the industry.

Of course,  if no one is willing to seriously review your work, the possibility exists that you’re being a bit too generous in your self-praise. I’ll admit I could be wrong here, but I’ve often had wannabe authors say to me something like, "Everybody on the planet has reviewed this and told me it was awful, but I’m sure I’m a genius…maybe I should self-publish." Just something to consider. I’ve covered self-publishing in other posts, but my basic argument is that you should only self-pub if you know exactly how you’re going to market and sell your own work.

As for this being an exhausting process, I’d submit that it is…but that it’s no more exhausting than making a living at any other art form. If you put together a band and write some songs, you may think your work is brilliant — but you’ve got to go play some gigs at local pubs, meet producers, and get some experience under your belt before you can expect to sign that record deal. You may think your paintings are genius, but you’ve got to sell some at art fairs and get introduced to some gallery owners before your work will hang in a museum. Like any other art, you start at the bottom and work your way up. Get some experience, meet some people, and move forward.

Wande wrote and asked, "When a writer sells a book to a publisher, does a standard deal give the publisher the right to publish the book only in a specific country? Can the writer contract with a different publisher in another country?"

When you sign a publishing contract, you’re granting specific rights as to what the publisher can do with your book. The standard request from a publisher will be "all rights in all countries." From there, you negotiate. It’s possible to do a US-only contract, or an English-world-rights contract. And yes, each country would require its own publishing deal. But before you start limiting the grant of rights, make sure you know what you’d do with those rights if you kept them. The larger publishers have full-time sales people who are actively seeking foreign rights deals for the house. They are often very connected with publishers in other countries who would be interested in your work. Unless you or your agent have strong foreign publishing contacts, you may end up making less money because you’re unable to secure deals. Conversely, if you have great contacts in other countries, you may make more by contracting each country separately. (I just did a deal with a publisher who contracted for world rights "except for China." They graciously allowed the author to keep Chinese rights because the author has some very strong ties to the publishing companies in that country.) But be aware that not all books translate well across cultures.

Jimbo wrote me to ask, "Why on some novel covers does it say ‘A NOVEL?’ For crying out loud, I know it’s a novel and not a cookbook! Do they think we’re not smart enough to figure that out?"

The phrase "A Novel" normally appears on some books to clarify the genre. For example, Penguin was inundated with complaints when they first published The Girls Guide to Hunting and Fishing (which was a novel, in case you’re unaware). The words "a novel" help potential bookbuyers know what sort of literature they’re buying. But here’s a little-known fact: some publishing houses insist each book have a subtitle, so the phrase "a novel" goes into the computer and fulfills the house need for completeness. However, it all could be a plot to upset the persnickety among us.

Diane wrote and said, "I’ve written a true-to-life, humorous short poem (12 lines) that I’d like to get out there. I’m wondering if I should just hold onto it and wait until I have a whole collection to print, or if I should submit it to a publication that would publish it right away. If I did the latter, would it be difficult to publish later in a collection?"

Um…okay, friendly readers of this blog will realize that I’m completely the wrong guy to ask about poetry. (For my part, I’d be happy if you held onto it the rest of your natural life, but only so that I wouldn’t be subjected to more poetry. But that’s just me.) My guess is that you should try and publish separate pieces, just to get your name in print, since nobody is going to buy a collection of poems from an unpublished poet. (Of course, nobody is going to buy a collection of poems from a published poet either, but that’s another issue.) However, I included this discussion because of your question at the end: No, it shouldn’t be difficult to publish in a collection later. Normally in a magazine or journal you’re giving the publisher one-time rights. Once that issue is off the shelves, rights to your piece revert back to you. (NORMALLY. Read your contract to make sure they’re not buying this poem from you as a work-for-hire, in which case they now own it, so when you sell that collection and get nominated for your Nobel Prize, they’re going to make a fortune off you.)

Ashley wrote and wanted to know, "If you could have represented any book from the past or present, which book would it be?"

From an agent’s perspective, it would have been The Purpose Driven Life. Why? Because it sold a bajillion copies and would have made me a flippin’ forture. Then I could have paid for that beach house and sat around reading whatever I wanted while sipping rum drinks with little paper umbrellas in them. But since you’re a sensitive writer type, you probably want more of an answer from an artist’s perspective. And that would probably be Huckleberry Finn, the best American novel ever written.

One last note: Everybody owes a debt of gratitude to literary agent extraordinaire Natasha Kern. You don’t know this, but Natasha has been talking with the people at Publishers Marketplace about listing "inspirational fiction" as its own category. (Like me, she was tired of having novels she represented listed as "romance" or "women’s fiction" when they were simply strong Christian stories.) She made her case to a skeptical group, pointed out the growth of Christian fiction in today’s marketplace, and noted that there are now dozens of literary agents focused on inspirational fiction. And, a couple weeks ago, they relented. If you check it out, "Inspirational Fiction" is now an official category for novels. Natasha gets my vote as "Cool Person of the Month" for accomplishing this. Thanks, Natasha!

I had several people write to me after explaining the cool marketing idea Chris Coppernoll is doing. Called "Providence Cares," Chris is teaming up with hospitals to help families raise money for those in need, while getting some great publicity for his new novel, Providence.

Ben wrote in to ask, "What exactly does the author do when ‘teaming up’ with a hospital?"

Instead of answering myself, I asked Chris this very question. His response: "Providence Cares helps families raise money for a child facing kidney and liver transplants. In my own life, I’ve watched friends as they grapple with the overwhelming costs of catastrophic illness in their children. Like many people, I believed health insurance or a state agency would cover treatment costs for organ transplants and life-sustaining medications needed in aftercare…but that’s not the case. Families are overwhelmed with the task of raising tens of thousands of dollars. So Providence Cares gives families another means of raising support for transplantation.

"Here’s how it works: Families host a Providence Cares event and invite their friends, family, co-workers, and faith community. I speak and sign books at the event, and 100% of the proceeds go toward the family’s health care expenses. The host family isn’t asked to pay for ANY expenses — books, my travel, or hotel costs. Books are distributed as a thank you for a donation of $20 or more (and some people give more). Providence Cares provides post card mailers for the family to invite guests to the event. Just 50 books signed at the event will raise $1000 in support. Families are welcome to promote the event by contacting their local newspaper, television and radio stations, or book clubs. Events can take place at a book store, church, community center, or hospital community room.

"Best of all, the response has been amazing. Families have been thrilled to have someone come along side, join hands, and help them in a very practical way. I see the Providence Cares ministry as a wonderful extension of my work as a writer. More than just telling stories, I hope my life can impact others."

A great response! And this is a practical idea authors can consider emulating. A great way to help people, get some media attention, and get people noticing your book.

On an entirely different track, I wanted to share a story with you from a fellow agent. Turns out one of the publishers she works with decided to bring in an author and have her meet the staff. They said they wanted her to "get to know the team," and told her she’d be signing books for everyone. Only one catch… The publisher wanted the author to BUY THE BOOKS before giving them away! That’s right — they asked the author to buy her own books to give away at the publisher’s event. I had to double-check this story, just to make sure I had heard it correctly. I’d never heard of a publisher expecting their author to purchase the books they were giving away at a signing…but NOW I’ve heard of it. Yikes. And you wonder why I think a lot of the people in marketing don’t know what they’re doing…

Here’s a true item: Bill Cosby has a new book out — Come On People: On the Path from Victims to Victors was released by Thomas Nelson in October. I hope it does well for them — Cosby’s message is much needed in our PC culture, and Nelson has proven itself to be a house willing to take a chance on a potentially non-PC projects. When I came across the book on Amazon, it reminded me of another marketing story.

Several years ago, I was sitting at a meeting of some top publishing professionals, and we were discussing a proposal that was being shopped by Mr. Cosby. He had been all the rage for years — a top-flight comic, a much-beloved spokesperson, and the star of the biggest TV show of his era. The guy was huge, and here we were discussing the merits of doing a book with him. In the midst of the discussion, a publicist spoke up. (Note: I swear I’m not making this up.)  "Well," she said, "I just don’t know if I could get media for that book."

Silence around the room. Um…what? You can’t get media for Bill Cosby? You don’t think you can get TV and radio types to interview BILL FREAKIN’ COSBY? "No," she told us. "It wouldn’t be easy. There’s a lot of competition to get on the top shows."

Oh. It wouldn’t be "easy." That would certainly make me lie awake nights. I’m sure all those writers who are pouring their souls out onto pages are worried about their jobs being "easy." I’ve made my living for a decade as a literary agent, and for the life of me I can’t think of a time when it was easy — when the deals just lined up and all I had to do was make a phone call and deposit the check. As though working for a living is supposed to be "easy." So at that particular meeting, it was all I could do to keep from exploding. I told Miz Publicist that, right there, on the spot, I could set up some media for Bill Cosby using nothing but my stupid cel phone — and I’m not super-connected with the top media people. (I got interrupted before I could finish my thought — that if she couldn’t get media for Bill Cosby, she was probably in the wrong line of work. And an idiot.)  Let it be a lesson: When you find a good publicist or marketing people, listen to them, do what they ask, and treat them well. The good ones are in the minority.

Dennis wrote to say, "I’ve got my first book coming out, and I’m supposed to do some interviews on radio. What do I need to know?"

First, there are only two kinds of book interviewers: those who have not read your book, and those who don’t know how to read. So never assume the interviewer has read your book. Therefore, always have stories at the ready — and no matter what the interviewer asks you, tell a story. You should be ready to tell the stories and talk about your book in a minute, in five-to-ten minutes, and in ten-to-thirty minutes, so that you can fit whatever time slot they’ve got booked for you. (In other words, think up more stories.) Unless you’ve done a lot of this before, don’t agree to take caller questions on the air. It only leads to random nutjobs, lonely widows, and hyperventilating outraged types, with the occasional know-it-all blowhard who loves the sound of his own voice.

Learn to be yourself on air. Relax. Don’t try to "sell" your book, just start sharing interesting stories and helpful ideas. You don’t know this about me, but I used to do a call-in talk show on Christian radio. 3 to 7 p.m. on the west coast, Monday through Friday — twenty hours per week of yakking it up on the air with people, asking them about their books, taking lunatic questions, listening to outraged Christian voters. A lot of authors don’t want to appear to be arguing on-air, so they become wimpy, agree-with-everyone types…which makes for radio that is BO-ring. If you want to get attention, be different. Don’t agree with everyone. Go onto some nonChristian stations and stir things up, keep your sense of humor, and talk about what’s in your book.

Jen wrote to ask, "I can understand the importance of a solid platform for a non-fiction writer, since most readers want to know the author’s qualifications, but how important are platforms for novelists?"

You could make a case that fiction writers used to base their success on the importance of their themes, the entertainment value of their stories, and the quality of their craft…but in our media-saturated society, even novelists are now expected to have a platform for their books. So we’re seeing books, seminars, and blog after blog touting ideas for fiction platforms. Blog tours, internet conversations, interviews, endless media exposure — there are a number of good resources out there, but they all basically come back to the same four ideas: (1) get your name noticed, (2) focus on the author more than one particular novel, (3) keep it out there regularly, and (4) stay in touch with your readers as much as possible. The advent of the worldwide web has changed the discussion for novelists — they are now celebrities, and readers want access to them. So as a novelist you are trying to create a series of positive impressions, in order to get readers to like your style and buy your books…not just your current book, but all your books.

Janet wrote me with this: "I went to a writer conference this year, and whenever someone asked an agent what they do, the agent would say something about ‘career planning.’ It got to be a joke, like beauty contestants talking about world peace. What IS a career plan for an author?"

You hit one of my hot buttons, Janet. I happen to agree that "career planning" is crucial for authors, but in my experience, some agents don’t know the difference between "a career plan" and "the next deal." In other words, their idea of helping you establish a career plan is to get you another contract. (I’m not exaggerating.) But a book deal doesn’t equate to a career plan. Every author who signs with an agent is expecting a book contract.

In my view, a career plan for an author is created by first helping the individual figure out (1) where they are now,  (2) where they want to go in the future, and (3) what the plan is for getting there. And success is going to be defined differently for each author, Some people want to make their living writing, others don’t care about the money so much as that they are writing regularly. One views success as making it financially feasible (let’s say $2000 per month), while another defines it as replacing her corporate income (making a minimum of $5000 per month). So part of the first stage is simply figuring out where you are and where you want to be. It can take a while to get to that place — you have to thnk about your past, your schedule, your personality, your platform, and your calling. What’s the message you feel you’ve been given? What are the books you simply HAVE to write? An author also has to think about keeping life in balance — having a career is more than just making money. You have to consider how much you’d like to earn and where it will come from, but you also have to think about how you maintain healthy relationships, stay physically fit, and have friends and a vibrant spiritual life. And you’ve got to write all this down somewhere, so that the author has a document from which he or she is working. THEN you can start thinking about the next steps to take.

Sure, if you’re unpublished or between contracts, most likely the first thing you need is a deal…but it’s not the only thing you need. Noodle on your writing career — where are you strong and where are you weak? An author with no platform is hoping the salability of her idea and the quality of her craft will carry her to success, but that’s become tough to do in today’s marketplace. God has a unique calling for each of us — He calls one to make a million dollars and another to have modest success. It’s not always because of great writing or a unique idea. Think of it this way — you’ve probably heard better preachers than Billy Graham, but for some reason one guy gets on TV and another guy toils away in a small town, outside the scope of the media. I don’t believe God is calling everybody to success…but I do believe He’s calling each of us to obedience.

So I think creating a career plan is about taking steps to move your writing life forward. Think about what you  could do to improve your sales and visibility. What could you study to improve your craft? How can you keep things in balance, so that you have a real life and not just a writing life? That’s creating a career plan.

And Amanda wrote to say, "I’m struggling with keeping my writing career going. It seems like I’ve been at this for years and not seen much success. I just want to feel that my career as a writer has been worthwhile. Can you help?"

You know, Amanda, that’s a fairly common struggle with authors. There can be an inherent sense of selfishness in writing — I’m doing what I want, I’m by myself most of the time, I have to promote myself and my writing. It’s easy to start thinking that "my world is all about me." My advice: Look for how you can serve others. There’s something about hands-on ministry to others, even in a very part-time role, that causes us to be far less me-focused. I’ve known authors who got involved teaching reading in adult literacy programs, teaching writing to kids in schools, and occasionally doing something that has nothing to do with words or writing. It’s different for every author. I"d ask you what sort of ministry or others-focused activites are you in now, and encourage you to participate.

That’s not the whole issue, I realize. Each writer has to decide if they’re writing what they should be writing, and if they’re finding fulfillment in it. I got to a point a couple years ago where I felt the only thing I did for other people was write them a check. I needed to do something hands-on with other people, so I started working with new immigrants (I come from an immigrant family, so that’s meaningful ministry to me).  I hope you find something that’s a fit for you, and that this idea helps you clarify why you’re doing what you’re doing.

After our last discussion, Steve wrote to ask, "So is there anyone making money at self-publishing?"

Absolutely. I have successfully self-published books in the past. If you’re planning to self-pub, you need to (1) write a great book, (2) use a professional editor, (3) pay for a great cover design, and (4) work with a quality printer. However, creating the book is only the first part of the process. You also have to (5) know how to market the book, (6) spend a lot of time and money marketing it, and (7) have a plan for selling copies. The fact is, most self-published books lose the author money because he or she had no plan for selling books.

There was a lot of discussion after my last post from people who wanted to defend self-publishing, and I found it completely off-topic. Of course you can find a good printer who will do a quality job. And you can certainly find ways to keep it inexpensive. But the facts are that most people lose money on the deal. I think self-pubbing is great, assuming you know what to do once you have the books in hand. Most people don’t. So if you self-pub, you need to have a workable plan for selling quantities of your book.

Donna wrote to say, "You’ve often said every author should take charge of their own marketing. After having paid your dues and learned all those valuable lessons while publishing your book, why not self-publish from then on? If you have to do all your own marketing anyway, why not just sell your books yourself and make ten bucks per book instead of the dollar per book you’d get in royalties?"

You know, some people decide to do exactly that. They figure out how to sell books, who their readers are, and how to reach them. There are plenty of ministries and companies who self-publish and make more money than if they had sold the books through a regular, royalty-paying publishing house. But there are three caveats to what you’re suggesting. First, you’ve got to warehouse and ship your own books. For some people, that’s a pain — warehousing may not be worth the hassle. Second, your book won’t make it onto store shelves if it’s self-pubbed. There’s money to be made for a good self-publisher, but there’s little fame or glory. Your book won’t reach beyond the people you can talk to, unless you study and figure out how to sell books via ads and the internet. So don’t expect to impress your friends with your self-published title. And third, you’ve got to market and sell ALL the books. There’s no waiting for someone else to come through — it’s all on you, as the publisher. If you’re not into that type of responsibility, there’s no way you’ll enjoy self-pubbing. Again, the chief reason self-pubbed books fail is because the author doesn’t know how to SELL her own books. She might know how to write them, maybe how to edit them, and possibly how to talk about them. But she doesn’t know how to sell books to prospective buyers. If you don’t know how to do that, you should learn before you make any publishing decisions.

Janice wrote to ask, "How much can a ghost writer expect to get for his or her first book? And if the writer gets his/her name on the book, what percentage of the profits should he/she ask for?"

There are a number of variables at play — How much time do you think will it take you? How big is the project? Did the author give you any materials, or are you creating it from scratch? Is the author a pain in the rear? All of those have to factor into your decision. Every year Writer’s Digest issues a report on how much money free-lance writers and editors make. They generally break it down to how much per project and how much per hour, and they typically offer a high, a low, and an average amount. They noted that last year the low was about $1500, the high was $75,000, and the average fee to ghost a book for someone was $22,000.

That’s a big chunk of change. Most authors start small — it wouldn’t surprise me if you were paid somewhere in the neighborhood of $2500-to-$4000 for your first ghosted project. If this is your Great Aunt Edna, who wants you to write her life story as "Garden Queen of Dubuque," or the Rev. Ernest Angree, who wants you to write up the notes from his sermon series entitled "How to Be Holy As Me," you’re not going to see much green. So ask some questions: What are their expectations? What do they want you to create? How long do they want it to be? People who aren’t writers and have never created a book generally don’t have a frame of reference, consequently they don’t realize how hard it is to create 100 pages filled with words. You may want to offer to start on an hourly basis (say $25-to-$35 per hour), or to write up the first two chapters for a flat fee of $300, just to test the waters. Of course, asking for a flat fee up front is the plan all freelance writers come to eventually. When I was making my living as a collaborative writer, I quickly figured out I much preferred sure cash to potential cash.

Walter asked, "If I decide to ghostwrite a book for a friend, what should the key contract points look like?’ 

I’d say the key points to clarify are (1) an overall description of the project, (2) word count, (3) due date, (4) compensation, (5) who covers expenses, (6) copyright, (7) what credit you’ll get, (8) the fact that this is a binding contract when signed, (9) the fact that if there is a disagreement you’ll go to arbitration rather than hiring lawyers, (10) the fact that the contract is under the laws of your state, and (11) a warranty in which you promise not to plagiarize any material or slander anyone. That about covers it.

Margaret asked me, "Do you get the sense that CBA publishers are becoming more receptive to Catholic authors? If not, will they ever?" 

Yeah, I do. I think Baker, Zondervan, Thomas Nelson, and other publishers are becoming more receptive to Catholic authors. And, of course, I now expect to get letters from nutcases who will want to explain to me why the Pope is the Antichrist, and how saying anything nice about the people we share historical Christianity with is compromising my faith, etc. And I’ve got to tell you, I am SICK TO DEATH of so-called believers wanting to explain why nobody else is ever quite "Christian" enough for them, so that their religious club consists of a handful of true believers holding onto the faith that the rest of us must have abandoned.

Bernice aksed, "What do you do when your writing friends and critique partners are not experienced enough to help you get to the next level? I guess the obvious answers are to study the craft, go to conferences, meet more writers…is there anything else?"

Lots of writers are in that situation, Bernice. I’m a huge fan of critique groups, I encourage people to attend conferences, and I think hanging out with other writers is great for your career. But the BEST thing you can do is find a mentor — somebody with some good experience, who can help you improve your writing. That individual doesn’t have to be perfect. He or she just needs to be a bit further down the path than yourself.

One last note: Carol saw the "worst titles" note that I mentioned in a previous post, and she tells me she found this book for sale on amazon: "How to Good-Bye Depression: If You Constrict Anus 100 Times Everyday. Malarkey? Or Effective Way?" I didn’t believe her, so I looked it up. Turns out she’s telling the truth. That is a title you can buy on amazon for $14.39. Grab your credit card and go visit — looks like a huge winner to me!

Denise wrote and asked, "What do you mean when you say someone ‘self-published’?"

Normally an author sends his or her agent a proposal. The agent shops it to a royalty-paying publishing house, who signs a contract, produces the book, and sells it to stores. The author licenses the sales rights to the publisher, so instead of actually "selling" the book, the author’s job consists of chatting it up, helping promote it, and complaining that the publisher isn’t doing enough marketing.

That’s the "normal" route a book follows. But sometimes an author will choose to go directly to a printer, have his or her own copies of the book produced, and then try to sell the book directly. Under this arrangement, the author pays for all the production costs (editing, cover art, ink, paper, binding, shipping). Therefore, the risk is great. However, if the author can actually sell some copies, his earnings will be much greater. Instead of making a dollar in royalty for each book, the possibility exists that he can make ten dollars for each book sold.

Ha-ha-ha-ha-ha! I was able to say that with a straight face. Okay, in reality, the author knows NOTHING about producing books. So he (we’re going to assume a male author, since nobody can tell most men anything) pays too much for a bad cover. (Self-pubbed books are notorious for bad covers.) He sends it to the printer who says they’ll edit it, but don’t. (Self-pubbed books are similarly notorious for poor editing.) He hopes for good quality ink and paper. (Take a guess at what goes in this parenthetical note.) He pays too much for each book, has no contacts for marketing it, and, worst of all, doesn’t know how to sell them after he’s talked with his relatives, neighbors, and steadily shrinking network of friends. He goes in debt $12,000, but he can puff his chest out at his 20th high school reunion, since he’s now "An Author." That’s the game, Denise.

Of course, there are two reasons people continue to self-publish… First, because there’s a sucker born every minute. If you want to throw your money at a project in order to feel better about yourself, who am I to stop you? Second, because occasionally an author will educate himself. He’ll invest in a real cover artist, send his manuscript to a legit editor, and team up with a quality printer. He’ll find a great marketing company to help get the word out on his book, then throw himself into promoting it. And, above all, he will research and invest in sales channels, so that he stands a chance of earning back his investment. The few who do this often speak to groups, so they can sell them in the back of the room, or they know their audience extremely well, and understand how to reach potential readers. But this doesn’t happen very often. Short of playing the ponies, pulling the handles of slot machines,  or buying stock options, I know of very few ways to lose money as fast as self-pubbing. More power to you!

Mary wrote to ask, "I have a friend who wants me to write his autobiography. He wrote a few pages — they were poorly crafted, but sweet. I told him there’s no market for this, but he insists I write it for him, and he has family money to finance it. How do we determine payment?"

Wow. If he’s writing out checks randomly like this, ask him if he needs a consultant. I’d be happy to have him send some of that money my way, Mary. Okay, here’s a quick way to determine payment… Look at the project and figure out how long it will take you to write. If you can create about four or five pages per day, and he wants 100 pages, you should be able to get it done in a month. (It takes a bit of experience to look at a project and figure out how long it’s going to take, but let’s say a month of full-time writing.) Now you have to figure out how much you want to make in a month. If you had a normal job, and worked for a month, maybe you’d make $4000. Since you have to pay your own taxes out of this, charge him $5000 and you’re all set. (And yes, the $5000 price tag will probably scare away most people anyway.) Having told you all that, you should know the $5000 figure is low. 

Not everyone charges by "time on project." Some charge by the word  or by the hour. Last year, the average hourly ghostwriting fee in this country was $73 (it ranged between $50 and $100). It’s hard to determine the average overall project fee for this type of thing, but I can tell you the average fee for an "as told to" book in this country was about $22,000…but it usually ran about four months, so my $5000-for-a-month estimate is pretty close to being spot on.

Of course,  you may want to heed my advice from an earlier post: If anyone asks you to write their memoir and they are not a celebrity, run the other way. Some day you’ll thank me for this bit of wisdom.

And Linda wrote with the question, "What do you think of the services of The Writers Edge and ECPA’s First Edition? Do these work?"

For the uninitiated, "The Writers Edge" (writersedgeservice.com) is a private company that solicits author proposals, then produces a printed report that is made available to Christian publishers. You list the title and genre, write your own short book description, and can use up to 75 words to explain your credentials. For that, they charge you $95. They claim that last year they placed 18 books with publishers, though they don’t list the projects or the publishers.

The people at Writers Edge are very nice. They mean well. But I’m not a fan. I don’t know of many editors who have the time to wade through a monthly report of unsolicited ideas on various ideas in random genres. In fact, I don’t know of any significant editor who has contracted a book from this service. I’m not saying this is a bad idea, only that, in my experience, it hasn’t been a boon to authors. I still think an author with an agent is much more likely to get his or her project reviewed — in fact, I believe a well-rehearsed pitch at a writing conference would make a stronger impression than a brief description in what amounts to a printed slush pile.

ChristianManuscriptSubmission.com (formerly known as "First Edition") is run by the Evangelical Christian Publishers Association (ECPA). It’s similar to Writers Edge in that you list the title and genre, but they allow you to give a 500-word description of your book, a complete Table of Contents, and a 3000-word sample chapter. Rather than producing a printed brochure, they post the proposals on a web site available only to the publishing members of ECPA. The cost is $98 to have your book listed for six months.

In theory, this is a better deal — you get more words, and you would think that ECPA members would be checking the site. But in truth, the same criticisms hold true. I know of no editors (at ECPA houses or elsewhere) who are short on proposals. So put yourself into an editor’s shoes… Would you prefer to contract with someone you don’t know, or with an agent you know and trust? Would you rather be reviewing random pieces on a web site sent in by anyone who can afford the fee, or a handful of polished proposals sent in by agents you’ve done business with in the past? There are thousands of unpublished authors trying to peddle their manuscripts, so this has created the biggest electronic slush pile on the planet. I just don’t see that it’s an effective tool.

I’m sorry — I’m an agent, and I know this sounds completely self-serving. But I used to be an editor, a senior editor, and a publisher, and I can tell you with certainty that the publishing business has moved away from the do-it-yourselfer and toward the professionals and specialists.

Does it hurt to participate in The Writers Edge and/or Christian Manuscript Submission? Of course not. And maybe you’ll be the one who gets noticed. But using that logic, you may want to also buy a lottery ticket, so that after you win, you can purchase your own publishing house. Business moves from less sophisticated to more sophisticated — from amateurism to professionalism. It’s why most houses only review agented submissions.

The Atlanta Journal Constitution just anounced their winner for the "Worst Book Title of 2007." And it was… Disney’s Cooking with Pooh.  Considering we’re all on Thanksgiving break, I thought you’d appreciate knowing what you could have had instead of turkey. Runners-up included Letting it Go: A History of Incontinence, Everything You’ll Need to Remember about Alzheimer’s, and The Stray Shopping Carts of Eastern North America: A Field Guide to Identification.

Two thoughts come to mind: First, you should know that I didn’t actually represent any of those books. Second, my buddy Steve Laube is the guy who put me on to this. Whether or not he repped any of them, I don’t know…

The Writers Guild strike is still going on, and you should know about it. Publishers Marketplace has already noted that it has caused the optioning of film rights to dry up, and agents are receiving force majeur letters from organizations invoking their right to extend their options. The lack of writing is going to put a squeeze on agents who work primarily in the land of Hollywood productions. And a lot of those striking writers are talking to literary agents about doing books.

If you’re not aware, the strike concerns money (there’s a shocker) that should be paid to writers when a program is shared over the internet. And the Writers Guild of America (WGA) is completely correct on this issue. The writer should be paid for digitally distributed content. When a studio sells episodes of a TV show via iTunes, then pays a sub-standard residual to the writer, the writer is the one not being adequately compensated for his or her creative work. Think of it this way: If your book publisher decided they could take your book and sell it to people over the internet without paying you a royalty, wouldn’t you feel cheated? So support the WGA. They’re in the right…

The Regnery Lawsuit is a mess. Regnery is a good company that I’ve done business with. They own some alternative sales channels that can really help boost a book’s numbers. But now some authors are suing them because they believe the company has been diverting book sales away from retail outlets in order to sell strictly through their own wholly-owned subsidiaries (and therefore pay the author a smaller royalty). An interesting debate for those who care about author earnings.

A few years ago, one of the New York houses was accused of selling their books to their wholly-owned Canadian distributors, with the distributor then selling the books Stateside. Oops. That way they could pay the author a smaller royalty. When agents found out about it, they flipped. And the practice stopped…

Chris Coppernoll’s novel Providence had created a fabulous marketing idea. The host of the "Soul2Soul" radio show is scheduling book signings at stores and churches, but using it as a fundraiser for those who have mounting medical bills. The church or store will advertise that Chris is coming, sell books, and the readers get to meet and talk with the author, like any other signing — but the kicker is that 100% of the proceeds collected go to the family in need. He has done several of these already, sold hundreds of books, and raised a lot of money for people who need it. Calling the idea "Providence Cares," Chris Coppernoll is finding a ready audience for the program. Great work! Other authors should consider doing something similar…

If you’re an author who is in need of help on your nonfiction proposal, I want to encourage you to check out what Mary DeMuth is doing on her web site (www.maryedemuth.com). I first met Mary at a Mount Hermon writers’ conference several years ago, and at the time I thought she was doing the best book proposals I’d ever seen. (So I get credit for "discovering" her!) Now she has created a tool to help other authors improve their proposals. I checked it out, and I love it. Great stuff. When I asked Mary for some tips on creating great nonfiction proposals, here’s what she said:

"Writers need to know a few things before they start. First, know your passion. A good book proposal emerges from a passionate idea. Think about the topics you get passionate about when you talk to folks. It’s a huge undertaking to write a proposal, so be sure you have the passion to carry an entire book.

"Second, know your book. What genre is it? Where should it be shelved? How well do you know what the book will be about? Do you have access to good research and great interviews? Make sure a pub board will find your book idea unique.

"Third, know your immediate audience. The first audience of your proposal is the agent or publisher you’re querying. Find out everything you can about them. Do they specialize in the genre you’re writing? Do they take new authors? Have you met and talked face-to-face? What kinds of books are they looking for? Analyzing books already represented is a good step — if an agent already represents three ‘mom’ authors, chances are he/she won’t want to take on another.

"Fourth, know the bookselling industry. Do you know what’s selling? What is oversold? What trends are up and down? Go to bookstores and walk the aisles, sign up for newsletters and updates from the publishing industry, go to conferences, talk to booksellers. It’s imperative that you know what you’re getting into before embarking on this journey.

"Fifth, know yourself. Writing a proposal is the first step in a long journey. Do you have what it takes to bring a book to completion? Can you take constructive criticism? Do you have the time to not only write the book, but to edit it in a timely manner and promote it when it releases? Do you have a critique group to help you through the process? Jan Winebrenner says publishing a book is ‘like giving birth to an elephant — only more painful.’ Are you ready for that?"

Great thoughts, Mary. I expect you’ll be seeing a lot of authors visiting your site.

I’ve got a backlog of questions to get to — I’ll try to catch up in the next week!

Chip

Linda wrote to ask, "Could you give some action steps for nonfiction writers who want to create a media-ready personae, as your friend mentioned in last week’s post?"

Sure. The basic idea is that you want to be able to show a publisher you have the training and experience to be involved in the media push for your book. So you might start by getting involved in some media training, in order to demonstrate you know how to talk about your book and it’s message. You could create some DVD’s of yourself, speaking to a group. You’ll want to demonstrate that you’re an expert on your topic. Here are some questions to think through…

• What types of places do you speak? Tell me about your audience, your venues, etc.
• Give me a list of places where you have spoken over the past year.
• Give me a list of where you are scheduled to speak in the next year.
• Can you give me a list of radio programs (local and national) that you’ve done? 
• Can you give me a list of television programs (local and national) that you’ve done?
• Can you give me a list of articles you have written that touch on your book’s topic?
• Of the various media we’ve explored so far, what do you feel you do best?
• Of the various media we’ve explored so far, where do you feel you are weakest?
• Can you give me a list of articles about you or your books that have been written by others? Also include any television reports that have been done about you.
• As you look back on past books, what has the publisher done that, in your opinion, worked well?
• As you look back on past books, what has the publisher done that, in your opinion, did not work well?
• Describe the internet marketing have you done on yourself and your books.
• What other marketing have you done on yourself and your books (tours, direct marketing, your own publicist, music, product sales, etc)?

Carla wrote to say, "I’m trying to establish a good business foundation for my writing career. could you share some keys as to what I should be trying to accomplish?"

Okay — if you approach your writing career as a business, you’re going to want an overall PLAN. That means you need to think about what you want to do with your writing. What is success? What’s the goal? What are you hoping to achieve? I work on the business side of publishing, so I encourage authors to think in terms of outcomes, which generally translates into dollars. How much money are you hoping to make next year with your writing? What plan do you have in place in order to earn that?

There are a number of other things to think through. From my perspective, you need to have a place to write, a time to write regularly built into your schedule, and a project that you’re writing on. You need to set up a filing system, a "to-do" list, a contacts list, and a writing calendar. Further, I think you should set up 90-day and annual goals, both in terms of "what I’ll write" as well as "what I’ll earn." Finally, I encouarge you to set up the necessary professional relationships — an agent, a critique partner, and strong editorial relationships. All of this, of course, is dependent upon the idea that you have a handle on the craft of writing. If you can’t write, the best business plan in the world isn’t going to help you.

Ashley wrote to ask, "Is it more difficult for a first-time author to break into the market with fiction or non-fiction?"

The truth is, it’s hard to break into the market, period. But from my experience, there are more open doors in non-fiction than there are in fiction. If you come up with a salable non-fiction idea, support it with strong writing, and show that you can help your publisher market it via a growing platform, you stand a good chance of getting published. But even a good idea and strong writing can be a tough sell in the fiction market — we’ve all seen too many great novels die quickly.

A bit of techno-news that’s important: In case you haven’t heard, Kindle is going to be the next big thing in publishing. It’s an electronic book, being released today by Amazon. Similar to a cel phone, you can download up to 200 titles onto it (each title is a relatively cheap $9.95), and you don’t need wi-fi or a special membership to do so. It has a built-in Oxford English Dictionary, by the way. And Jeff Bezos, the head honcho at Amazon, insists that Kindle is going to replace the printed page. Oh, yeah — the cost is $399. Um…I think I’ll wait.

Things to Unlearn.

Italicized thoughts.

I don’t know if I’ve been around long enough to be a curmudgeon. There’s got to be an age cutoff, or something. I would eschew the term Luddite, for obvious reasons, though I have yet to create a Facebook page or post home videos to YouTube or upgrade to Vista or the iPhone. I do have a wireless Media Center Extender so I can watch recorded TV that I have stored on my external firewire drive through Media Center (with dual tuner). I’ve only met one other person who does that. So perhaps I’m just really really progressive, and forward-thinking. Yeah, that’s it.

But I do have enough things on my list to call this post the beginning of a series. A series called “Things to Unlearn.” And in this series, I will be making the case for a change in the status quo when it comes to telling stories in books. Chances are you just learned at a writer’s conference from some published writer to do exactly the thing that I’m telling you never to do again. Sometimes it happens.

And so my first curmudgeon’s rant—I mean, discourse on the bleeding edge of the craft of writing for postmodern times—is this: Please stop using italics for interior monologue.

I’ve heard that the Chicago Manual of Style used to recommend italics for interior monologue. Currently, in the fifteenth edition, the options given are quotes, or no quotes. (I looked at the fourteenth, and it lists all three possibilities. So it is a distinct change to no longer include italics.)

That might be the only evidence I need, but even if CMS gave unction to italicized thoughts, I would disagree. As readers become more and more sensitive to authorial intervention, italics seems another way of saying, “Look here, see what I’m doing?” It distinguishes the narration from the interior monologue, distancing the reader from the character and creating a false dichotomy.

When it comes to the point-of-view character, there is no need for italicized thoughts. That’s the beauty of the limited third-person or the first-person POV: the character’s voice is integral to the narration. A switch from third-person narration to first-person monologue can be done skillfully and easily, without confusing the reader, and without needing to distance the reader through a this-is-narration, this-is-interior-monologue indicator like italics.

In the rare case of the more omniscient third-person narrator, I would even advocate the much-malaised thought attribution in order to work around the italics problem, if absolutely necessary. Though, still better to use paragraph breaks or just ease into the thoughts by going from third person to first person.

There’s only one instance in which italics are appropriate, in my opinion, and that’s when a voice is speaking inside the character’s head. You know, the voice that tells you, Great job, Meisenheimer, could this sound any more arrogant? Because to the point-of-view character, this is a voice, unheard, but with the possibility of being an independent entity, although, of course, in my case, I sure hope not. It represents an actual dialogue within the character’s head, and a distinct voice separate, we assume, from the narrator’s thoughts. Though, I admit, there’s a good possibility this could be done without the use of italics. And if a writer figures out how to do that, then even better, I say.

ANDY MEISENHEIMER is married to Mandy and is a proud father. His best friends: Duncan, part Jack Russell and all bark, and Barnabas, a chubby and aloof shar-peagle. By day, he is an acquisitions editor at Zondervan. By night, he is an avid recorded TV watcher, novel reader, Wii player, and diaper changer. Likes: Phish, About Schmidt, the Enderverse, Berry Punch. Dislikes: Serial killer novels, Celebrity news, Biopics, Soda pop.
http://thesearebooks.blogspot.com

Steve Laube (pronounced "Lobby’) is a longtime friend of mine. We first got acquainted years ago, when we were both working as editors and we spoke at some of the same conferences. I always found Steve to be wise and articulate (whereas I’m known more as "wise-guy" and "intemperate"). Once I became an agent, I used to pitch him projects at Bethany House, and our friendship continued. Then Steve succumbed to the dark side and became an agent in his own right, and the two of us started our own little chat group — a couple of literary agents, dishing the dirt on projects and trying to one-up each other. He’s still a friend, we still chat, and I still value what he has to say.

Some people will think I’m crazy, turning my bl0g over to a competitor — but I always appreciate my conversations with Steve, so I thought the readers of this blog would enjoy hearing what an experienced friend has to say on the topics of the day.

Steve, it’s great to have you join us. Let’s start by talking about CBA — what are the trends you’re seeing in fiction?

"This is always a challenge. Three years ago I couldn’t sell a bestselling historical author anywhere. Today everyone wants historicals. Who knows about tomorrow? Publishers and authors alike tend to ‘chase the ball’ in an effort to match the perceived interests in the market. Unfortunately everyone sort of gets the same idea at the same time. For example, there was a sudden flood of chick-lit after Kristin Billerbeck’s first novel was such a success. But here we are, a few years later, and very few publishers are willing to even consider a new ‘lit’ project.

"We get the same problem with science-fiction and fantasy (which are two distinct genres, contrary to common verbiage). I championed that category when I was at Bethany House and we launched Karen Hancock, Randy Ingermanson, John Olson, and Kathy Tyers. Unfortunately the market was soft and the category sort of frittered away to where the 2007 Christy Awards didn’t even have the category designated for an award. However at the same time we have observed the wild success of  CBA YA fantasy novels from both Donita K. Paul and Bryan Davis. That success has opened a small window of opportunity in this category for adults too. Only a couple publishers are looking, and I can state that they will probably only release one or two authors, and wait for the market to vote. If the numbers are not strong? The cycle will begin all over again.

"So my advice is to stop chasing the market. Don’t suddenly decide that you must write an Amish novel just because they are popular today. Don’t write a Da Vinci Code knock-off just because it was cool to write a story with a ‘lost manuscript.’ Writers have no idea how many similar proposals we see that simply echo the current bestseller list. At all costs avoid the cliche’d approach to storytelling, i.e., the need to toss in a tornado to create suspense, or an assault on a woman to engender sympathy, or a myriad of other themes and triggers that are overused. Take your writing to a level that causes agents and editors to gasp at its creativity and brilliance. This can’t be done by brainstorming one afternoon. It’s why many bestselling books take years to develop and write."

Amen! So my Amish chick-lit about a girl caught in a tornado while searching for some lost Amish recipes won’t fly?

"And now you’ve got me preaching. let me move to another subject before a blow a gasket."

Deal. What are you seeing with writing and publishing in non-fiction?

"There is a similar problem of chasing the market. The difference is that publishers aren’t as concerned with ‘story’ or ‘craft’ with non-fiction. Instead it is the author’s platform or past sales performance that has become the new threshold.

"In the past an author could create a great idea, get published, and consequently be able to build a platform. This still happens (see Donald Miller and Blue Like Jazz), but it is not the norm. Instead the author must work hard, sometimes for years, to create visibility and a media-ready personae, and then create the great book. I have a client, Jill Rigby, who did this the right way. She spent years developing a ministry in her state for teaching manners to kids. She developed a public school curriculum and became an expert in her field. After ten years she thought it time to try and write a book for parents that would run parallel to her ministry. We worked together, found a publisher (Howard), and her book, Raising Respectful Children in a Disrespectful World came out last year and has enjoyed considerable success — so much so that her publisher signed her to do two more books.

"Unfortunately the majority of people have neither the inclination nor the skill set to develop this type of market visibility. They have an experience to share or a topic they have taught or a modest-sized ministry, and think that publishers are going to want to publish because the book is too important to ignore.

"I know Chip has told the hard news in earlier postings, but let me reiterate some of that so he isn’t the only voice you hear on this topic. I know of more than one publisher who won’t even consider looking at a proposal unless the author’s previous books have sold 50,000 copies or more — or if this is a first-time author, the projections are at a minimum of 30,000 in its first year. Those are some huge numbers. I was rejected by one publisher who said, after reviewing a project whose author has a national TV show in over 100 major cities and a dozen foreign countries and over 3 million books in print over the last 20 years, "His last book only sold 25,000 copies — he isn’t big enough for us."

Ouch.

"How’s that for a slap of cold water on a chilly morning?"

So what’s a writer to do?

"Again, write the absolute best book you can, and then write it better. If you are starting out, ply your talent in the magazine world. Get used to creating snappy ideas that editors love. I have a client who spent 10 years developing a reputation as a top-drawer article writer. The author was eventually asked to write scripts for a radio program. Then she was asked to record scripts of her own for that program. Next thing you know we were able to leverage those scripts into a book contract. She didn’t start out with the book; she started out by becoming a great writer and making contacts in the industry. Now her dream has come true for publishing a book.

"At the same time, work on becoming an expert in your field. Speaking, writing articles, blogging, etc. Give us a reason to pay attention to what you have to say. The market beast is cold-hearted, vicious, and unyielding in its demand for big ideas."

I know you’ve worked as a bookseller, editor, and agent. You’ve seen the industry grow and change. What do you think the future holds for Christian publishing?

"I’ve been in this industry for 26 years. I’ve watched it grow, and personally felt its growing pains. But I believe the industry is healthy, and becoming smarter. One can walk around the convention floor at the annual International Christian Retailing Show (ICRS) in July and either feel despair or feel inspired. I must admit that after 26 consecutive annual conventions, I still get a thrill when walking the sales floor. It is a picture of ‘God on the Move.’ Nowhere else can one see so much incredible talent in one place, and all with the same goal: to help change the world. I remember one New York general market editor who recently came to the show for the first time. She said, ‘I had no idea that I would see such a high level of quality in design and production, and such great content.’

"There are some who see the glass as half empty. They say that Christian bookstores are in trouble and this means the demise of the industry. All I can say is that CBA is a reflection of the market at large. The ABA independent booksellers are struggling just as much as CBA independent booksellers. The chains in both markets are cutting a wider swath. Is this good or bad? Hard to say, but there are more books being sold than ever before, so with that measure it is a good thing.

"It is a privilege to be part of this marvelous industry, and to contribute to the writing and publishing of books that have such an extraordinary impact. I’ve been asked, ‘What do you do for a living?’ I answer, ‘I read.’ When they ask, ‘What do you do for fun?’ I answer, ‘I read.’ It can’t get much better than that!"

You still go to conferences and get hounded by authors who want to show you their latest book ideas. What other advice would you have for authors wanting to move forward in their careers?

"The best advice I’ve heard is to view the conference as a learning experience, not a ‘selling’ experience. So often writers are crushed or disappointed because the conference did not meet expectations. The publishing world is one that will break your heart. Therefore the best thing to do is to learn as much as possible about it. Then you can navigate the labyrinth with a little more confidence. I have clients who first heard me at a conference as many as ten years ago. They spent intervening years studying and learning and writing. Now their material is ready for prime time.

"Use a conference as a way to meet with other writers and make them part of your extended network and support. Editors and agents are always on the hunt for the ‘next best,’ and someday yours may be the exact project we are looking for."

Great advice, Steve. Thanks for joining me on the blog and sharing your wisdom.

"My pleasure."

-chip