LDSPMA

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Marketing: Reaching the Seventh (Book) Encounter

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By Laura Harris Hales

Book marketing guru Shari Stauch estimates that it takes consumers an average of seven encounters with a book before they will purchase it. My research shows that a slight tweak to that statement would make it more accurate. It is more likely the number of encounters with the author is what tips the scales when it comes to book purchases.

The sad truth is that if you’re not already a bestselling author, then book marketing will be more akin to a marathon than a sprint, and the dreaded “wall” hits you sooner than you would think.

It’s easy to be excited about marketing when one is the belle of the ball with book signings scheduled, book reviews published in popular online forums, a short stint on the Amazon bestseller list, podcast invitations, and a book trailer tabulating views on YouTube. But that time in the spotlight lasts shorter than most of us would like, and soon authors are brainstorming on how to get their books once again in front of the eyes of potential consumers.

Interestingly enough, one of the most effective selling techniques for new authors is to promote their writing generally rather than their book specifically. Regional newspapers and popular online websites are always looking for content. And if content is offered for free, it is more attractive to publishers. This is one marketing avenue that shouldn’t be ignored.

Recently first-time author Spencer W. McBride deftly used this technique. Spencer is the author of Pulpit and Nation: Clergymen and the Politics of Revolutionary America. On the day before the presidential inauguration, his editorial entitled “My view: Trump’s victory demonstrates an exploitation of Christian voters” was published in the Deseret News. Though never specifically referring to the contents of his book, he skillfully wove aspects of the current political climate into politics of the American past. In the process, he not only showcased his mastery of the subject matter but also its enduring relevance. The only hat tip to his book was in the bio: “Spencer W. McBride is the author of “Pulpit and Nation: Clergymen and the Politics of Revolutionary America.”

Spencer is an acquaintance. I knew about his book. I love history and books, but had yet to consider purchasing it because it seemed to be on a narrow topic with little practical application. After reading his editorial, I became intrigued. His insights were astute and his writing style interesting.

Did I buy the book? No, but I did check out the price on Amazon. Besides I am only at encounter five.

Become a Chapter Leader of LDSPMA

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By LDSPMA

Make Connections and Discuss Topics

I often relate to Steven Pinker’s description of an aspiring writer’s initial understanding of learning to write as “negotiating an obstacle course in boot camp, with a sergeant barking at you for every errant footfall.”[1] I have often felt that way, especially when I am alone in my office struggling to make a chapter work or I am opening a stake of rejection letters. Usually the sergeant barking at me is my own voice. It’s easy to begin to get discouraged in that kind of environment.

But, Pinker goes on to say, “Why not think of it instead as a form of pleasurable mastery, like cooking or photography?”[2] When I read those words, that was an “Aha!” moment for me. Usually when I embark on a hobby, I join a group of similar enthusiasts to generate ideas, to motivate me to greater heights, and to gain inspiration on how to do it better. The people who have been doing it successfully for a while give encouragement to those just starting out on their new adventure.

In any of the publishing careers, professional lives can be lonely. As publishing professionals (in all fields of publishing, whether it is writing, editing, blogging, or film production), we need other people to find connections and discuss topics of interest that will generate more ideas for better results.

LDSPMA is that kind of place. A fun place to meet with other people with like-minded careers, passions, and hobbies. As a chapter leader, you gather together all those in your geographic area who would like to learn about how to become better at their craft. You will find the opportunity to meet with others quarterly, gaining ideas and ways to move forward your career and the careers of others.

“Perfecting the craft is a lifelong calling…,”[3] so let’s perfect our craft together! Become a chapter leader of LDSPMA in your community and make connections with others while you discuss ways to perfect your craft.

If you are interested, please contact Marianna at mariannari@hotmail.com

 

[1] Pinker, Steven. The Sense of Style: The Thinking Person’s Guide to Writing in the 21st Century. (New York: Viking, 2014) 12.

[2] Ibid.

[3] Ibid.

The Three-Legged Stool of Excellent Writers

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By Janet T. Perry

A savvy business friend who interviews job candidates once told me he looks for three things in future employees: accuracy, timeliness, and added value. Like the legs of a three-legged stool, each of these “Big 3” qualities bears equal weight in excellent writing.

Why “The Big 3” Matter in a Writer’s World

Accuracy: For a writer, finding a typo published is like discovering your zipper is down. Avoid embarrassing yourself by carefully checking your writing before publishing. This includes paying attention to small punctuation errors, which can not only throw off a reader but can actually change the meaning of the text. Neglecting to use even a simple comma can spell disaster (e.g., “Let’s eat, Mom.” vs. “Let’s eat Mom.”). Perhaps even more essential is verifying content. Misrepresenting information or skewing data can be a turnoff to readers and can make it difficult for you to build credibility and trust.

Just 3 Ideas: Edit and re-edit your work. Ask a skilled and trusted colleague to review your work. Fact-check scrupulously.

Timeliness: Half of falling in love is finding the right person; the other half is finding that special someone at the right time. By the same token, who wants to read a fascinating movie review about last year’s blockbuster? And what good is a captivating company blog if it promotes a hot product released several months ago? When we read something is often as important as what we read.

Just 3 Ideas: Sync your writing calendar with important events, product releases, and upcoming services. Submit work slightly ahead of schedule. Use a friend, incentive, or device to help hold you accountable for meeting deadlines.

Added Value: When I was hunting online for a tried-and-true chili recipe, the photos and reviews all ended up looking and sounding very much the same. However, one recipe used cocoa as a secret ingredient. This tip had me hooked. Trust your own writing expertise to add a little “Wow!” whenever possible. Give readers inside information or ideas to save them time or money, and don’t be afraid to use visual or structural pizzazz to keep them engaged. Employers want to be heard, and they hired you to get their message out.

Just 3 Ideas: Make plain sense of confusing or boring material. Make material reader-friendly by changing the format or sentence structure. Delight your readers with unexpected humor, helpful tips, or interesting tidbits of information.

Putting “The Big 3” into Practice

I get a monthly email reminder about my book group, but instead of dishing up the same old who-what-where-when-why information, our group leader keeps us on our toes. Sometimes she draws us in with a creative subject line; other times she includes a question, riddle, or acrostic poem. Occasionally, she shares a little-known fact to pique our interest in the book (Added Value). We calendar a year in advance so we all know who is reviewing what book and where the meeting will be held (Accuracy), but charming missives like hers would be rendered useless if they arrived after the group had already met (Timeliness)— which they don’t.

No one is ever anxious to read a standard email, a predictable five-paragraph essay, or boring business report. Instead, excellent writers delight readers by giving them what they need when they need it, and they keep them reading by sharing a little extra.

©2017 Janet T. Perry. All rights reserved.

Book Review: The Subversive Copy Editor

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By Jonathon Owen of ArrantPedantry.com on Carol Fisher Saller’s The Subversive Copy Editor. Read the original post here.

Disclosure: I received a free copy of this book from the University of Chicago Press.

I have a terrible editor confession:1 Until now, I had not read Carol Fisher Saller’s book The Subversive Copy Editor. I also have to take back what I said about But Can I Start a Sentence with “But”?—this is the best book on editing I’ve ever read.

The book, now in its second edition, has been revised and expanded with new chapters. In the introduction, Saller explains just what she means by “subversive”—rather than sneaking errors into print to sabotage the writer, she aims to subvert the stereotype of the editor locked in an eternal struggle with the writer or so bound by pointless rules that they can’t see the forest of the copy for the trees of supposed errors.

I find Saller’s views on editing absolutely refreshing. I’ve never been a fan of the idea that editors and authors are mortal enemies locked in an eternal struggle. Authors want to share their ideas, and readers, we hope, want to read them; editors help facilitate the exchange. Shouldn’t we all be on the same side?

Saller starts with a few important reminders—copy editors aren’t the boss, and the copy doesn’t belong to us—before diving into some practical advice on how to establish good author-editor relations. It all starts with an introductory phone call or email, which is the editor’s chance to establish their carefulness, transparency, and flexibility. If you show the author from the beginning that you’re on their side, the project should get off to a good start.

And to maintain good relations throughout a project, it’s important to keep showing that you’re careful, transparent, and flexible. Don’t bombard the author with too many queries about things that they don’t know or care about like arbitrary points of style. Just make a decision, explain it succinctly if you feel the need, and move on. And don’t lecture or condescend in your queries either. Saller recommends reading through all of your queries again once you get to the end of a project, because sometimes you read a query you wrote days ago and realize you unintentionally come across as a bit of a jerk.

Too many editors mechanically apply a style without stopping to ask themselves whether they’re making the manuscript better or merely making it different. Sometimes a manuscript won’t perfectly conform to Chicago or whatever style you may be using, but that can be okay as long as it’s consistent and not wrong. (If you’re editing for an academic journal or other publication with a rigid style, of course, that’s a different story.) But there’s no reason to spend hours and hours changing an entire book manuscript from one arbitrary but valid style to another equally arbitrary but valid style. Not only have you wasted time and probably irritated the author, but there’s a good chance that you’ve missed something, introduced errors, or both. Rather than “What’s the rule?” Saller suggests asking, “What is helpful?” or “What makes sense?”

And Saller doesn’t have much patience for editors who get “hung up on phantom issues and personal bugaboos,” who feel compelled to “ferret out every last which and change it to that”2—if you’re still relying on your high school English teacher’s lectures on grammar, you need to get with the times. Get some good (current!) reference books. Learn to look things up online.

I also appreciated the advice on how to manage difficult projects. When faced with a seemingly insurmountable task, Saller recommends a few simple steps: automate, delegate, reevaluate, and accept your fate. See if you can find a macro or other software tool to save you from having to grind through long, repetitive tasks. Delegate things to an intern if possible. (Sorry, interns!) Ask yourself whether you really need to do what you think needs to be done. And if all else fails, simply knuckle down and get through it.

There’s also a chapter to help writers navigate the copyediting process, along with chapters on learning to use your word processor better, managing deadlines, working as a freelancer, and more. And throughout it all Saller provides sensible, practical advice. Some of my favorite bits come from a chapter called “The Zen of Copyediting,” which aims to help editors let go of the things that don’t really matter. When faced with an apathetic author, one of Saller’s colleagues tells herself, “You can’t care about the book more than the author.” Saller herself dares to suggest that “some of our ‘standards’ are just time-consuming habits that don’t really make a difference to the reader.” And finally, one of Saller’s former mentors liked to say, “Remember—it’s only a book.”

Whether you’re a seasoned editor or a novice just breaking into the field, The Subversive Copy Editor provides sage advice on just about every aspect of the job. It should be a part of every editor’s library.

The Subversive Copy Editor is available now at Amazon and other booksellers.

Notes

1. ↑ You can choose to read that either as a terrible confession for an editor or as the confession of a terrible editor.

2. ↑ I saw this happen once on a proofread. Remarkably, I don’t think the author used a single relative that in the entire book. The proofreader hunted down every last restrictive which and changed it to that—and missed a lot of real errors in the process. And changing that many whiches to thats surely would have wreaked havoc with the copyfitting.

The Different Faces of Editing

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By Christopher Kugler

The term editing covers a wide variety of responsibilities. Some editors provide general services, covering many aspects of the field, while other editors specialize in specific types of editing. When you’re shopping around for an editor to polish your manuscript, it’s vital to ensure that both you and the editor understand what level of editing is expected.

While there are any number of editing specialties (acquisitions editing, fact-checking, indexing, and page design, to name a few), most authors are looking for an editor whose skill set falls under one of three umbrellas:

  • Proofreader
  • Copyeditor
  • Substantive editor

Proofreader

The proofreader provides the lightest editing services of the three. The proofreader is primarily responsible for the final pass over a document, checking for spelling issues, punctuation issues, inconsistent spacing, basic errors with grammar, egregious factual errors, and the like. The proofreading pass is usually done just prior to publication, in conjunction with the efforts of a copyeditor and/or substantive editor.

In many cases, larger publishing and editing firms employ proofreaders. A freelance author often won’t need the services of a dedicated proofreader, as those services will be provided by a copyeditor or substantive editor.

Copyeditor

The copyeditor is what most people think of when they think of an editor. Rather than just a light pass like a proofreader, the copyeditor is a master of one or more style guides and is responsible for preparing a draft manuscript for final publication. This includes one or more passes through the manuscript to check for and correct spelling, capitalization, and grammar issues; problems with syntax; noun–pronoun agreement; and the like.

A copyeditor will also often format the draft manuscript in proper manuscript format, including:

  • Applying proper fonts, font sizes, margins, and line spacing
  • Ensuring headers and footers are correct
  • Ensuring in-text citations, footnotes, endnotes, and bibliographies are formatted correctly
  • Ensuring that elements of the manuscript match the appropriate style guide, such as deciding whether to spell out numbers or leave them as numerals

In short, a copyeditor takes what you’ve written and polishes it; their job is to make you, the author, look as good as possible.

Substantive Editor

The substantive editor holds a somewhat different role than the proofreader and the copyeditor. While the proofreader and the copyeditor ensure that the text and format of a manuscript are ready for publication, the substantive editor focuses on the content—the substance—of the manuscript. The substantive editor’s primary focus is to ensure that your content makes sense, flows well, and is engaging.

The substantive editor works closely with the author to initiate changes and reorganize the content to help it best fulfill its purpose. While a copyeditor may change words or even sentence structure to correct style issues, the substantive editor may change words, sentences, paragraphs, or more to improve clarity and flow. The substantive editor is responsible for eliminating repetition; correcting instances of passive voice and confusing sentence structure; clarifying central elements such as plot points, dialogue, and flow of action, if applicable; pointing out instances where tone may not match the author’s intentions; fact-checking; and more.

Despite digging deep into the content, an effective substantive editor will maintain the author’s voice and general style. The substantive editor is not a coauthor; instead, he or she provides a third-party view of the manuscript and points out issues to which the author may be blind.

Many substantive editors also provide copyediting and/or proofreading services, but not all do. When hiring a substantive editor, make sure to clarify exactly what services will be provided.

The 10 Awful Truths about Book Publishing

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By LDSPMA

1. The number of books being published every year has exploded.
According to the latest Bowker Report (September 7, 2016), more than 700,000 books
were self-published in the U.S. in 2015, which is an incredible increase of 375% since
2010. And the number of traditionally published books had climbed to over 300,000 by
2013 according to the latest Bowker figures (August 5, 2014). The net effect is that the
number of new books published each year in the U.S. has exploded by more than 600,000
since 2007, to well over 1 million annually. At the same time, more than 13 million
previously published books are still available through many sources. Unfortunately, the
marketplace is not able to absorb all these books and is hugely oversaturated.

2. Book industry sales are stagnant, despite the explosion of books published.
U.S. publishing industry sales peaked in 2007 and have either fallen or been flat in
subsequent years, according to reports of the Association of American Publishers (AAP).
Similarly, despite a 2.5% increase in 2015, U.S. bookstore sales are down 37% from their
peak in 2007, according to the Census Bureau (Publishers Weekly, February 26, 2016).

3. Despite the growth of e-book sales, overall book sales are still shrinking.
After skyrocketing from 2008 to 2012, e-book sales leveled off in 2013 and have fallen
more than 10% since then, according to the AAP StatShot Annual 2015. Unfortunately,
the decline of print sales outpaced the growth of e-book sales, even from 2008 to 2012.
The total book publishing pie is not growing—the peak sales year was in 2007—yet it is
being divided among ever more hundreds of thousands of print and digital books.

4. Average book sales are shockingly small—and falling fast.
Combine the explosion of books published with the declining total sales and you get
shrinking sales of each new title. According to BookScan—which tracks most bookstore,
online, and other retail sales of books (including Amazon.com)—only 256 million print
copies were sold in 2013 in the U.S. in all adult nonfiction categories combined
(Publishers Weekly, January 1, 2016). The average U.S. nonfiction book is now selling
less than 250 copies per year and less than 2,000 copies over its lifetime.

5. A book has far less than a 1% chance of being stocked in an average bookstore.
For every available bookstore shelf space, there are 100 to 1,000 or more titles competing
for that shelf space. For example, the number of business titles stocked ranges from less
than 100 (smaller bookstores) to up to 1,500 (superstores). Yet there are several hundred
thousand business books in print that are fighting for that limited shelf space.

6. It is getting harder and harder every year to sell books.
Many book categories have become entirely saturated, with a surplus of books on every
topic. It is increasingly difficult to make any book stand out. Each book is competing
with more than thirteen million other books available for sale, while other media are
claiming more and more of people’s time. Result: investing the same amount today to
market a book as was invested a few years ago will yield a far smaller sales return today.

7. Most books today are selling only to the authors’ and publishers’ communities.
Everyone in the potential audiences for a book already knows of hundreds of interesting
and useful books to read but has little time to read any. Therefore people are reading only
books that their communities make important or even mandatory to read. There is no
general audience for most nonfiction books, and chasing after such a mirage is usually far
less effective than connecting with one’s communities.

8. Most book marketing today is done by authors, not by publishers.
Publishers have managed to stay afloat in this worsening marketplace only by shifting
more and more marketing responsibility to authors, to cut costs and prop up sales. In
recognition of this reality, most book proposals from experienced authors now have an
extensive (usually many pages) section on the authors’ marketing platform and what the
authors will do to publicize and market the books. Publishers still fulfill important roles
in helping craft books to succeed and making books available in sales channels, but
whether the books move in those channels depends primarily on the authors.

9. No other industry has so many new product introductions.
Every new book is a new product, needing to be acquired, developed, reworked,
designed, produced, named, manufactured, packaged, priced, introduced, marketed,
warehoused, and sold. Yet the average new book generates only $50,000 to $150,000 in
sales, which needs to cover all of these new product introduction expenses, leaving only
small amounts available for each area of expense. This more than anything limits how
much publishers can invest in any one new book and in its marketing campaign.

10. The book publishing world is in a never-ending state of turmoil.
The thin margins in the industry, high complexities of the business, intense competition,
churning of new technologies, and rapid growth of other media lead to constant turmoil
in bookselling and publishing (such as the disappearance over the past decade of over 500
independent bookstores and the Borders bookstore chain). Translation: expect even more
changes and challenges in coming months and years.

STRATEGIES FOR RESPONDING TO “THE 10 AWFUL TRUTHS”
1. The game is now pass-along sales.
2. Events/immersion experiences replace traditional publicity in moving the needle.
3. Leverage the authors’ and publishers’ communities.
4. In a crowded market, brands stand out.
5. Master new digital channels for sales, marketing, and community building.
6. Build books around a big new idea.
7. Front-load the main ideas in books and keep books short.

By Steven Piersanti, President, Berrett-Koehler Publishers
Updated September 26, 2016

Vector illustration credit: Vecteezy!

What Good is a Book Publisher?

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“In this new marketplace in which all book sales depend on the author’s efforts and general retail book sales are flat, doesn’t it just make more sense to self-publish?”

Berrett-Koehler President and Publisher Steve Piersanti responds:

One of The 10 Awful Truths About Book Publishing that I have written about highlights how most book marketing today is done by authors, not by publishers. That statement has led some observers to question what value publishers offer and whether authors would be better off self-publishing their books, given that the authors, more than their publishers, will drive sales. The case for self-publishing is further strengthened by today’s ability of authors to reach the marketplace through Amazon.com, the new social media, and the authors’ own websites.

In fact, I concur that self-publishing is the best avenue for many books, and I often encourage authors to go this route—particularly when they are able to sell many copies of their books through their own channels.

However, a good commercial publisher still brings tremendous value to the book publishing equation in multiple ways:

  1. Gatekeeper and Curator: In today’s insanely crowded marketplace with an overwhelming number of publications competing for our attention, publishers select and focus attention on books of particular value and quality, thereby helping those books stand out. The validation, visibility, and brand provided by publishers add great value to those books.
  1. Editorial Development: Berrett-Koehler raises the editorial quality of each book in several ways, including extensive up-front coaching of authors to improve the focus, organization, and content; detailed reviews of the manuscript by potential customers to make the book more useful to its intended audience; and professional line-by-line copyediting. Such editorial development is often pivotal to a book’s success.
  1. Design: Self-published books often stand out in a negative way because their covers and interiors appear underdesigned (or overdesigned). Some self-published books lack the professional and appropriate appearance that good publishers bring to books.
  1. Production: Although authors can now produce books on their own computers, publishers can save authors a lot of work while bringing higher quality to layout, proofreading, indexing, packaging, and other aspects of production.
  1. Distribution: Publishers can usually make books available through many more channels (trade and college bookstores, multiple online booksellers, wholesalers, and other venues not open to self-publishing companies) than authors can on their own.
  1. International Sales: Berrett-Koehler’s books are sold around the world through distributors in Europe, Asia, Africa, Australia and New Zealand, and Canada.
  1. Networks of Customers: Berrett-Koehler brings books to the attention of our networks of individual customers, institutional customers, bulk sales customers, association book services, catalog sellers, other special sales accounts, and countless other groups. We have been building up these networks for eighteen years, and they add lots of value in helping books to succeed.
  1. Publicity and Promotion: Although the publicity and promotion efforts of authors may actually exceed those of their publishers, publishers still reach many prospective buyers that authors cannot reach on their own. This is particularly true for a publisher like Berrett-Koehler that has a multichannel marketing system that combines online, direct mail, bookstore, publicity, social media, e-newsletter, website, special sales, conference sales, and other channels of marketing for each new book.
  1. Foreign Translation Rights, Audio Rights, Digital Rights, and Other Subsidiary Rights Sales: This is an area of great focus and success for Berrett-Koehler (with over two thousand subsidiary rights agreements signed thus far) and helps books to reach many more audiences than the publication of just the English-language print edition. Authors also receive extra revenue, a higher profile, and greater satisfaction when their books are published in a variety of languages.
  1. Coaching: Perhaps the greatest value provided by publishers is less tangible than the previous items on this list. Just as coaching regarding a book’s content and organization can be pivotal to its success, so too can a publisher’s coaching on the title, price, design, format, timing, market focus, marketing campaign, and even tie-in to the author’s business strategies make a big difference in whether a book succeeds.

In the end, working with good publishers is a partnership. For books to succeed, authors and publishers must collaborate in many ways. For example, the publishers set the table through their marketing channels, but whether the books actually move in those channels often depends on the marketing that the authors carry out.

Berrett-Koehler has been extraordinarily fortunate in that so many of our authors have worked with us—and continue to work with us—in this partnering way. We have tried to spell out some aspects of this partnership in the Bill of Rights and Responsibilities for BK Authors.

We also appreciate the many BK customers who partner with BK and with our authors in spreading the word about our publications, serving as manuscript reviewers, and contributing in countless other ways.

Thursday, January 21, 2010

Vector graphic designed by vecteezy.com