Touring a Bookstore

Every writer should tour a bookstore in the company of a manager. Did this yesterday for a class. The manager had 24 years' experience in the business. Bookstore facts:

• A new book's lifespan on the displays "up front" is seven to 21 days. The book then moves to "the stacks" or regular shelving.
  
• A new book's lifespan in the stacks is 90 days.
• After 90 days the bookstore and publisher begin the process of returning the unsold books to the publisher for credit.
  
• The bookstore's "bestseller" rack may be the bookstore's bestsellers, not the NYT's.
  
• New hardcovers can be priced at 20 to 30 percent off the cover price because the publishers have given the bookstore a promotion subsidy.
  
• Today's big-box bookstore carries about 95,000 titles. At peak in the 1990s, it carried an average of 135,000 titles. What got cut? Books from small publishers.
• At a chain bookstore, the displays at the ends of aisles, called "endcaps," are subsidized by publishers.
  
• On the shelves, some titles are displayed facing front, while others show only their spines. The publishers of the full-front books have paid the bookstore for the privilege. "It really sells books."
  

Which is More Important: Action or Results?

A beautifully simple rearrangement of reality from a seminar on "making a living from your self-published books," a St. Louis Publishers Association event attended 28 December:

Speaker, asking the audience: "Which is more important? Taking action or getting results?"

Audience: "Hmm, well, sort of -- results?"

Speaker: "No. It's taking action! Imagine two authors who want to sell their books. One tells himself, 'I'm making 10 cold calls today.' The other vows, 'By the end of today I will find three hot leads.' Then it's 2 p.m. The first author has made his calls (he hates cold calling, but he did it). He's free now to go to work on his next book. The second guy is sweating and stressed -- calling and calling he hasn't gotten even one of the hot leads he wanted! And gosh, his day won't end until he has three!"

Remember, said the speakers, you can control your actions -- but you can't control results!

Electronic Rights Means More Money for Authors

It sure do, honey. Check out NYT story on how upset Simon& Schuster is that one of their biggest authors (Stephen R. Covey, Seven Habits of Highly Effective People (1989) & sequelae) has sold his electronic book rights to a company that'll give him 50 percent when people buy electronic versions of his books. You think Amazon.com taking 50 percent is outrageous? Well, Simon & Schuster would have taken 75 percent.

"Ever since electronic books emerged as a major growth market, New York’s largest publishing houses have worried that big-name authors might sign deals directly with e-book retailers or other new ventures, bypassing traditional publishers entirely." (Poor publishers; now they suffer they way WE did when THEY bypassed fairness to writers!)

I specifically claimed all electronic rights to the text of Meet Me just for that reason; and when you sign book contracts -- be a highly effective person and do the same!

Talking with Gaye Gambell-Peterson: Wine from Creative Juices

Poet/artist Gaye Gambell-Peterson answered my questions about her new book, MYnd mAp, from Agog Press ($15). It's a very unusual collection: 14 poems paired with full-color collages.

Catherine: Is this a collection of individual poems or was it conceived as a book? When did you know you had a book?

Gaye: MYnd mAp, the book of collage + poetry, was just that, from the very moment the seed got planted. Years and years ago I had clipped out the title words when stockpiling snippets for collage-making. I lost that scrap, but the book idea stayed in a corner of my mind. I let it just be. It ripened.

Catherine: This book includes 14 full-color collages. Which came first, the poems or collages? Were the poems inspired by the collages? For example, in "otHYR waters" the "baby raspberry" appears in the collage as well as the poem.

Gaye: When it was time to harvest, I listed geographic terms as poem.art titles. After that, I piled graphic bits to fit those categories. Then I wrote poems, with the appropriate collage collection spread before me. As each poem became infused with new layers of word images, I would fortify the art with more visuals. When the words written were taste-perfect, I glued down the amassed paper elements. So, you see, the process for each poetry + art set was a back-and-forth one.

Look for many repetitive components within each set. I let seven sets age for quite a while, and then quickly doubled the book as I approached my self-imposed "get real" deadline.

Catherine: In this book you make inventive use of white space, and invented variant spellings for individual words, such as "eddge," and combine them sometimes with "eccentric" capitalization such as in the poem titled "rivYr". You even use some red type along with the usual black type in "TerrORtory", my favorite poem in the book.

Gaye: One of my goals was to create a book that was unique. I am ALWAYS driven to be outside-the-box. How many ways could I do that? Spelling, space, color - one idea leads to another: wine made from my creative juices. It poured freely.

Catherine: Tell about putting this book together and printing it.

I knew I had to publish the book myself - illustrations in color would double the cost. Who, but me, would be that brave/foolhardy? Making MYnd mAp real was, and is, a complex satisfaction - beyond profit considerations.

My first poetry & art book, pale leaf floating, was so easy with editor Rebecca Ellis to guide me. Her Cherry Pie Press used Hobblebush Books to make real a lovely (if I may say so myself) volume. I queried Hobblebush and found Sid quite willing to produce this 2nd book. He was amenable about all aspects, and creative in his own right. He always found a way to do what I envisioned, and even allowed me to change my mind a couple of times. We did it all by email.

Catherine: Anything you want to add?

Gaye: Of course. Three things.

1. As a poet I often make my writings universal in their spin, but MYnd mAp is completely autobiographical. Images are very specific to my story. I make no apology for that.

2. In 2008, my mom died of a sudden illness; she was almost 99. Her death was also just weeks before Cherry Pie Press invited me to be ninth in its Midwest Women Poets Series. Since Mom ALWAYS believed I'd author a book someday, I was impelled to do two things. I dedicated my 1st book, pale leaf floating, to her. I named my publishing imprint for this 2nd book in
honor of her. Agog Press. A Grand Ole Girl she was.

3. Marketing is a whole 'nother thing - pushes me outside my comfort zone more than making a book does. For instance, it was a push (ultimately rewarded) for me to ask admired poets to write blurbs for either book.

~I will be reading from MYnd mAp at Left Bank Books, 399 N. Euclid, on Wednesday, December 2, 2009 (with Rebecca Ellis as co-reader). Please, do be there - 7 p.m.

~During January 2010 I will exhibit the original collages used in both books - in the Gallery of the University City Public Library. Tentative date for opening reception: Friday, January 8th, 6 p.m. Check www.gayegambellpeterson.com for updates.

Catherine: Want to order Gaye's book? Here's where to write.

Are You Nervous About "Selling"?

In Girl Scouts I sold the least cookies. My record low year was 6 boxes. I hated going door-to-door (it wasn't dangerous 40 years ago), feeling as if I were begging for sales; it was embarrassing, shaming, beneath me, huckstering, craven, I was "bothering people"...so not ME.

You may have the same problem thinking of selling books. Possibly at its root is a fear of rejection. Our creative imaginations can turn simple rejections into emotionally scarifying experiences. I see these possible ways out:

1. Get over it. Everybody's selling something! The worst anyone can say is No.
2. Hire a salesperson to sell ("pimp") what you've got.
3. Create a team effort with another person who is business-wise or isn't so sensitive, and learn alongside of them how to set goals, etc.
4. Believe in what you are selling, so much that you will make yourself sell.
5. Check out shrinkingvioletpromotions.blogspot.com -- "Marketing for Introverts" if you're just as afraid to "bother" your editor as you are to "bother" a book buyer!
6. Sell something else and let the book tag along. For example, become an expert in your book topic and give seminars. Offer the book at every gig.

Exposed: A Lie About Book Marketing

“A book won’t sell itself.” True or false?

False. Seems to me plenty of books sell themselves. Take The Portable Abraham Lincoln. He isn’t around to promote it, but it sells.

Ah, you say, but Lincoln was a public person, a man of great character, beautifully articulate, historic, famous, exceptional. I say, consider then a workaday trade paperback such as Letting Go: The Parents’ Guide to Understanding the College Years (Third Edition). A college administrator saw a need for this book, first published in 1997; it caught on; and 12 years later it still sells.

You reply: But there was a market just salivating for that book. Look then, I reply, at Julia Cameron’s The Artist’s Way. That book (originally self-published) created its own market. Heck, it created its own industry; you can get it on audio CD, get workbooks, sequels, Morning Pages journals, and so on.

Yes, you say, but those books aren’t great literature. There’s no market for great literature. Bosh, I say. Has anybody who reads English gotten through this life without reading, somehow, To Kill a Mockingbird? At this moment it's at No. 509 on amazon.com!

Yes, you say -- but that’s a really, really good book.

I say, your book will sell itself for a long, long time if you are a public person of great character, exceptional; or if there’s an untapped market for it; or if your book can create its own market; or if it’s a really, really good book. If your book possesses none of these qualities you should keep working until it does – if you want your book to sell itself.

Scribd.com

Scribd.com is where writers post their work for readers to download and get 80 percent of any sales. It's an alternative to Amazon.com which takes 50 percent. I've priced my poetry book, Fierce Consent, at Scribd's suggested retail of $5, in PDF format. And I'll see if my experience at Scribd.com is at all different than, or more trafficked than, lulu.com. I'm always looking for ways for writers to get more from what they do.

Read the NYT article about Scribd here.

If You Want to Be Famous. . .

By the time you read this, Meet Me: Writers in St. Louis, will be at the publisher's, in production. Curious writer friends now ask why I didn't interview THEM for the book (since it's a book of interviews with St. Louis writers). The men ask jokingly but directly. Miffed women give me reproachful looks and won't congratulate me on publishing the book.

Look, writers: If you want press, if you want to be interviewed, you will have to:

1) write something and make it available.
2) alert the media. They won't come looking for you. I know you think they should. But they're media. They have to hear buzz.
3) do some publicity on your own, such as scheduling a book launch, sending postcards, press kits or other. That may be beneath you, but it is rather like going to the bathroom -- you can't deceive yourself that you're above all that. Get a publicist if you can pay for one. College students majoring in marketing are a good option.

My interviewing-writers days are over, but remember the above, because somebody else someday is going to be seeking out and interviewing writers about their processes and secrets.

Selling Your Books Via Bookmarks

Most "Sell Your Book" seminar speakers advise, "Have bizcards printed." That's sensible. But then they suggest printing a couple of thousand bookmarks, too. They should match the cover of the book you're promoting. Carry them, give them away.

Then, always, the speaker distributes (her; this is a women's thing) bookmarks to the audience. I mean, woot. I've never bought a book I've seen on a bookmark. Never got into the habit of bookmarks. I don't like how they feel. I leave books open, face down; or I dog-ear a page if the book is mine. People give promotional bookmarks as if this cheapest kind of freebie were a gift. Next time a bookmark is offered I will decline to see what happens.

But I just heard a bookmark strategy new to me -- Take Your Bookmarks to the Bookstore and Stick Them Into Books That Aren't Yours, But Are In the Same Genre. Logic: Reader of big author will buy book, find YOUR bookmark, & feel prodded to buy YOUR book. The chutzpah, logic, and business sense of this marketing move are beneath commentary.

Unagented YA Manuscripts Sought

Wide open market for UNAGENTED young adult fiction -- a new Harlequin imprint, actually -- reported on Tricia Grissom's Coffee and Critique blog. I know that you know somebody with a YA novel, so please pass the information on.

The Marketer Says, and I Quote

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I'm Rich and Devoid of Common Sense

• If sending out a mass e-mail to 5 million perfect strangers, at a cost to you of $2,359, sounds to you like an effective way to market your self-published book. . .

• If you think establishing an author website or a book website* will make your book sales soar. . .

• If it sounds like a good idea to spend $1,387 to submit the link from your website to 3,000 websites with no guarantees that any of them will post your link. . .

Marketing.YenchenSupport.com is for you. I'm in some sort of database of self-published authors. Yenchen phoned me this morning. When I expressed interest in their company, of which I had never heard, they passed my call up to a guy who spoke better English and told me all about their services for self-published authors. If I signed up today I'd get 30 percent off.

I wish at this time to let everyone know that "self-published" does not mean "rich" or "naive" or "devoid of common sense."

*All authors should have such a site, but such sites aren't sales tools. They are contact tools. When was the last time you bought a book through an author's website?