self-publishing
Publishing Options Series: What's the Deal with Self-Publishing?
March 16, 2011
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by Katie Steigman
In this series we will address one of the biggest questions facing authors today: how will I publish my book? As little as ten or fifteen years ago, this answer would have been simple: get an agent, who will then pitch the book to major publishers on your behalf. Now, with the wide variety of options available, it can be hard to decide what route to take. This is why, one post at a time, we’ll dissect each of the options in an effort to help authors better answer that question.
In our last post, we talked about how traditional publishers work. Today we will discuss the burgeoning business of self-publishing. Self-publishing (not to be confused with vanity publishing, which we’ll discuss next time) is basically the process of contracting with a variety of professionals to create a book. That might include editors, graphic designers, book compositors, printers, and distributors. So, for example, if you have a complete manuscript, you’ll have to find and pay an editor to work on the content; then a compositor to do the interior layout; then a cover designer to create the cover, back cover, spine, and flaps; and so on. You can also hire book shepherds or packagers, who have a stable of contractors and who will coordinate the work on your book.
Sounds like a lot of work, doesn’t it? Well, there are some good reasons to do it yourself, and we’ll share some of the downsides as well.
Pros:
Ownership. Since you created the book, you own the publication rights to all versions of the book (ebooks, foreign editions, film adaptations, etc.)—unless you sell them to a traditional publisher. Retaining your rights is especially useful if your brand or business is tied to the book and if you’ll want to incorporate parts of the content from the book into your website, seminars, materials, and the like. When you self-publish, you pay the upfront cost, but you also keep a much larger percentage of the profits (to the tune of 35 to 45 percent of the retail price versus 2 to 10 percent with traditional publishers).
Creative control. Since you’re calling the shots, you get to decide exactly how you want your book to look. You have final say on everything—from how the editor approaches the content, to what colors the designer uses in the cover, to the printing specifications and technology.
Speed to market. Having control of the project also gives you the ability to get your content to the market faster than a traditional publisher would be able to. If you have something timely you want out in six to twelve months rather than two or three years, self-publishing is the way to go.
Cons:
Quality. Even when working with purported “experts” you should always be wary of the experience an editor or designer brings to your project. There are plenty of contractors out there with little experience creating a commercially viable book, and it can be a hard pill to swallow if you get stuck paying for low-quality work. Additionally, a self-published book can lack the unity of having one team working on it, as well as the polish a seasoned publisher can provide. Even if you’re working with highly skilled professionals, unless they are receiving the kind of feedback from national retail buyers that major publishers are getting, they will never have the same insight and therefore won’t be able to provide the same level of quality. Many self-published books unfortunately possess a few major missteps that keep them off the shelves of major retailer.
Distribution. Since anyone can self-publish a book, there is no guarantee of quality and self-published books are often viewed poorly by the media and retailers. And because self-publishers generally do not receive feedback from retail, they lack the ability to adapt to the market the same way publishers can. Since retailers can be squeamish about self-published books, getting into retail channels, even with the help of a distributor, can be difficult.
Distinction. For the reasons we’ve discussed (quality control, lack of retail feedback) self-published books can sometimes carry a stigma. Since they generally lack solid retail distribution, their sales histories are usually weak, which makes them a riskier bet for retail buyers. For buyers, it’s a question of choosing something untested with no track record (a self-published book) over a product that has a record of excellence (a traditionally published book).
So what now? There is a wide variety of resources and articles out there for self-publishers (like this one from Nathan Bransford on self-published millionaires). Here are a few websites and books to check out:
- Dan Poynter’s website on publishing, complete with everything from writing and editing advice to information on how to typeset your book and find a printer. Poynter also has quite a few books out on self-publishing.
- John Kremer’s site focuses on book marketing and also offers all kinds of resources for self-publishers.
- Self-Publishing for Dummies by Jason Rich: This book is a simple introduction to the business of self-publishing, complete with the traditional For Dummies graphics.
- The Complete Guide to Self-Publishing by Tom and Marilyn Ross: This book surveys the entire process from writing to printing to promoting.
If your goals as an author are aligned with the pros above and the cons are something you can stomach, it’s probably a good idea to dig a little deeper into self-publishing as an option for your book. Once you’ve done your research, the next step is identifying vendors. The resources above should point you in the right direction and help you find qualified professionals who can provide the services you need to create your book.
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Publishing Options Series: The "Traditional" Route
February 4, 2011
by GreenleafBookGroup
In this series we will address one of the biggest questions facing authors today: how will I publish my book? As little as ten or fifteen years ago, this answer would have been simple: get an agent, who will then pitch the book to major publishers on your behalf. Now, with the wide variety of options available, it can be hard to decide what route to take. This is why, one post at a time, we’ll dissect each of the options in an effort to help authors better answer that question.
Today we’ll begin at the beginning and talk about “traditional” publishing. Rather than dive into a history of publishing, let’s keep it simple: traditional publishing happens when you sell the publication rights of your book for an advance and royalties on the sale of your book. This is generally the type of deal you’ll find at the “Big Six” publishing houses in New York—Penguin, Simon & Schuster, HarperCollins, Random House, Hachette, and Macmillan.
So what does striking a deal with a traditional publisher entail exactly? We thought it might be easiest to break it down into pros and cons.
Pros:
- Credibility. Since traditional publishers have been producing high-quality, salable books for quite some time, authors are afforded automatic credibility just by working with them.
- Distribution. Again, because of their reputation in the business, the Big Six’s wholesale and retail connections are very strong. You can rest assured that they know how to get your book into retail, and your agent can help you sell your translation or foreign rights.
- Low up-front cost. Generally, traditional publishers pay for all aspects of book production (which can be rather expensive), and authors are usually responsible for at least some, if not all, of the marketing and publicity. For someone looking for a lower financial investment, this is one of the cheaper options.
- Quality. Acquisitions editors at traditional publishing houses screen all projects so that the overall quality of the publisher’s line is very high. The production process includes everything from seasoned editors working on the book to dazzling design and printing.
Cons:
- Lack of brand/creative control. As an author, you have little say in the titling, design, printing, or editing of your book. This may be an issue if your brand is tied to your book.
- Low royalties and advances. First-time author advances can range from $2,000 to $20,000, which you have to pay off in sales before you start receiving royalties. Royalties for paperback are typically five to seven percent, and ten to fifteen percent for hardcover. You’ll also need to account for paying a portion of your advance and royalties to your agent, usually around ten to fifteen percent.
- Slow time-to-market. Unfortunately it can take anywhere from two to three years to secure an agent, get a publisher, and actually have your book published and released.
- Ownership. Under the traditional model, authors sell the right to publish their work for a defined period of time. Selling the publication rights gives them little say in the direction, distribution, or amount of time their book spends in the market. If for any reason the author is dissatisfied, they must either buy back their rights before the agreement ends or wait for the book to go out of print (at which time rights revert back to them) before they can take it elsewhere.
How do you get the ball rolling if you think you’d like to go with a traditional publisher? Get an agent! Traditional publishers rarely accept proposals directly from the author, so you’ll need to find an agent to represent you. Here are a few resources:
- Check out the Association of Author Representatives (AAR). Members follow an ethical code, so any agent who asks for a reading fee or money up front is not included in this organization.
- Also take a peek at the Guide to Literary Agents (GLA), available in both book and blog formats, sponsored by Writer’s Digest. The blog discusses the types of work the agent represents and their submission guidelines. You can search by genre to locate agents who will represent your work.
So does traditional publishing make sense for you? If the pros mentioned above sound like what you want and you can live with the cons, perhaps it is. If what you want doesn’t quite fit what this model offers, stay tuned for future installments of the series on publishing. In coming weeks, we’ll be covering new technology, vanity presses, independent publishers, and self-publishers.
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Selling Your Book Online: How to Compete With Amazon
January 25, 2011
by Tanya Hall
Amazon sells a boatload of books, and a shipload of other stuff. In their quest to become the Walmart of the Internet, they offer a huge range of products and often discount them steeply to get your shopping cart started—and books in particular seem to frequently become loss leaders. This sometimes alarms authors just entering the world of retail book distribution, who suddenly realize that the customer who once bought on the author’s website can now buy the same book faster and cheaper on Amazon.
The discount Amazon places on titles does not affect what an author is paid through his or her publisher, of course, but it can impact how effectively that author can sell product on his or her website. It’s important to remember, however, that there are at least two types of buyers—those who will just buy the book, and those who are looking for a deeper experience. The buyer who just wants the book will probably not buy it from your author website if it is also available on Amazon. It is definitely difficult to compete with Amazon (or BN.com) for this customer—one-click purchasing, free shipping, and familiarity stack the cards in favor of the online retailers.
Frustrated by Amazon’s dominance, some authors eschew Amazon, trying to keep a product monopoly limited to their website. This is a mistake—you’ll never be able to attract the volume of users or offer the ease of purchase that Amazon does. As the saying goes, it’s better to have 10% of the gold than 100% of the shaft.
However, the buyer seeking a more immersive experience is another story. It’s for this type of buyer that you should sell product on your website—product that offers a deeper experience than just a cheap copy of the book. For example, bundle the book with an audio supplement. Offer a self-assessment or workbook to accompany the book. Consider offering coaching or, better yet, a community where your readers can collaborate and support one another. Use access to assets like podcasts, sample chapters, and exclusive supplementary content as an incentive for newsletter signups. And by all means, put a mention of these available website features at the back of your book. Ultimately, the goal is to capture and stay in front of your reader in a way that enhances their connection with you (read: no spam!) and builds allegiance. Successfully doing so will help you compete not just with Amazon but also with every other author vying for attention (a far more formidable opponent!).
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Paperback Versus Hardcover: How Should You Print Your Book?
January 17, 2011
by Katie Steigman
If you’re taking the reins on how your book is being printed, you’ve probably already come to face-to-face with the many available options. We’ve talked before on the Big Bad Book Blog about print-on-demand versus traditional printing, but we thought it might also be helpful to discuss binding style. Paperback, hardcover, mass market—everyone has seen these formats in bookstores, but how do you decide which is right for your book?
Let’s start by clarifying a few terms:
Paperback (also called soft cover or perfect-bound) books usually have a cover made from paperboard or a very thick stock, and the pages are attached to the binding with glue. When we talk about paperback books, we typically mean trade paperbacks, which are the typical 6 x 9 or 5.5 x 8.5–sized books you see in bookstores. Mass-market is a type of paperback you often see used for romance novels or thrillers. Mass-market books are usually smaller in trim size and fatter with a thinner, lower-quality stock and cover.
Hardcover (also called casebound or hardbound) books have covers that are sturdier, usually made from thick cardboard wrapped in cloth. Here the pages can be glued or sewn into the spine, making the spine more flexible so that the book can lay flat when opened. The book title and author's name are often stamped onto the cloth binding, and hardcover books typically come with printed dust jacket with artwork.
So if you’re making arrangements to have your book printed, how do you decide which format is best for your book? Here are the three main determiners.
Cost to Consumer
The retail price a consumer will pay for a book is largely dictated by the format, and retail buyers have strict guidelines about how a book can be priced. A paperback book is often significantly cheaper than a hardcover book (for more on price, see this post). Because hardcover is more expensive to the consumer, you could encounter readers who just don’t want to pay $21.95 for a book they could otherwise get in paperback for at $16.95. This bears repeating—if you print in hardcover and subsequently price your book higher, you risk losing sales because of the high price point. This consumer choice in price is also important considering the rise in ebook sales, which cannibalized hardcover sales in the last quarter of 2010, according to Bowker. That said, there are many reasons a consumer might prefer a hardcover book, including durability, style, and longevity.
Genre
Genre is one of the biggest indicators for format. Books that can be found in hardcover are frequently in the genres of business, coffee table/art, first-edition fiction, or collector’s editions of classics. Traditionally, fiction comes out first in hardcover and later in paperback. This is changing due to the economic climate, and to stay competitive many fiction titles, especially from newer authors, are coming out in paperback to entice readers with a lower price point. Penguin recently released a beautiful set of hardcover editions for people looking for that classic aesthetic that only hardcover brings. Topics with rapidly changing information, like health, technology, science, and politics, are usually released in paperback (or ebook) formats, so that new editions can be released and consumed more quickly. Of course, these are broad generalizations meant to provide a little guidance, and doing research on comparable titles can help inform your decision on the proper binding for your book.
Printing Cost
Printing hardcover is more expensive than printing paperback, so if you’re on a tight budget, you might get more books for your buck by printing paperback. The margins for hardcover books are usually better than for paperbacks because the cost to consumers is significantly higher than the cost difference in printing—it only costs a little more to print hardcover than paperback and you can charge a lot more in retail. If you do have a strong platform or fan base, or if you have direct sales opportunities, hardcover may be a good way to go. Your clients and fans may be more likely to buy your book even at the higher price point that hardcover commands since they are already interested in your content.
Other Considerations...
One other point to consider is the sale of paperback rights. If your goal is to be picked up by a traditional publisher, you may want to release first in hardcover (again, depending on the genre). If your hardcover sales catch a traditional publisher’s eye, they may inquire about the rights to your paperback version. It doesn’t really work the other way around, though, so if this is important to you, hardcover may be a good choice.
There is no magic formula for deciding what format to print your book in, and there are a lot of factors to consider. The first step is establishing what your price point will be for any format you are considering. Making sure you have an appropriate price point is imperative for accurately running the numbers on your margins. Once you have looked at printing cost versus retail cost, taking a close look at your genre and comparable titles is a good next step to making a decision on format.
Have Questions? Thoughts? Let us know!
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Printing Your Book: Should You Go with Print-on-Demand?
December 9, 2010
by Katie Steigman
When you’re deciding how to print your book, you have two main options: print-on-demand or printing on an offset press. What do those two options entail exactly? Print-on-demand, or POD, allows you to digitally print a single book at a time, often using a large laser printer. Offset, or “traditional,” printing involves a huge press that transfers the image from an inked plate to a rubber blanket and then to the paper, and usually necessitates a print run of at least 1,000 units to make economic sense. So which is right for your book? It depends on several factors you’ll want to weigh before making a decision.
You might consider POD if…
You’re planning a limited release and just want your book available online or for order.
If you’re not planning on national marketing or distribution, POD is an easy way for interested parties to find your book and order a copy online. This may be the case if you just want the book available for friends and family.
You don’t want to pay for a large print run upfront.
Offset printing requires a comparatively higher investment since you’re essentially buying 1,000 books (or more). If you’re not in a position to pay for a run of that size or don’t want the risk of not selling all the units you print, POD or a smaller digital print run may be a better fit. With POD, you print just the quantity you need, when you need it.
You have content that needs to be frequently updated.
Books on current events or anything technology related will likely require frequently updated content. With print-on-demand you won’t have old stock lying around once you’re ready to release an updated edition, and it’s easy to add or change content.
You might consider offset printing if…
You’re planning a national release and will be widely distributing and marketing your book.
If you already have a strong platform (link to platform article), have direct sales opportunities lined up, or are planning a big publicity push, an offset run might be a better choice because of the lower price per unit and the higher-quality printing required for retail.
You are willing and able to invest in print run of at least 1,000 books.
As mentioned earlier, there is a larger upfront cost when you print offset, since you’re potentially paying for the printing of several thousand books instead of a few dozen. That said, the more books you print at once, the lower the price per unit—1,000 books is typically thought of as the minimum number of books you’d need to print to reap the benefits of an offset run.
You want or need higher-quality printing or flexibility with printing specifications and technology.
POD printing is restrictive when it comes to your choices in trim size, paper weight, color inks, and printing technologies like embossing, debossing, cut-outs, or foil. Offset presses offer the widest variety and highest-quality printing choices if you are planning on a uniquely sized book or a book with color images or photos.
A few additional notes…
- Shipping and warehousing is something else to consider—with offset printing you’ll need a place to store your books.
- Technology in digital printing has advanced rapidly and there are more choices now than there were just a year or two ago. Options in digital printing will probably continue to increase.
- While print-on-demand is a type of digital printing, it’s important to mention “digital printing” as a separate entity all its own. Digital printing is an option for small print runs (around 25–500 copies) and has fewer printing restrictions than POD. Like POD, you will still typically encounter a higher price per unit than offset, but unlike POD, you will have to arrange for shipping and warehousing.
- POD and digital printing have a quicker turnaround time, usually about 2 weeks, whereas offset printing usually requires 4 to 5 weeks for paperback and 6 to 8 weeks for hardcover.
These are, of course, not necessarily the only points to consider, but they are the most commonly debated issues. As with almost any part of the publishing process, when considering your printing options, one of the most important things you can do is to clarify what your goals are and what resources you’re putting towards your book to help you determine the best option. For more information on printing options, take a look at this FAQ from BookMobile.
Have questions? Leave us a comment on this article and we’ll be happy to answer them.
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Want Your Book in Stores for Christmas?
November 10, 2010
by Katie Steigman
What you need to know about timing the release of your book.
To be brief: start early! If it’s November and you’re shooting for books on the shelves of retail chains like Barnes & Noble and Borders for the Christmas season, sadly, you’re about four months late. Retail buyers generally buy six months out, which means that they were making decisions in June about what they would carry in November for the holiday season. June is the time that buyers have their largest available budget for November, so if your publisher or distributor is trying to pitch your title for a Christmas-time release any later than June, you have a much slimmer chance of getting a good buy (or any at all) because most of the money allotted for that month has already been spent.
Most publishers and distributors work under catalog schedules built around these retail lead times. Ideally, they have advance reader copies or galleys available to present to retail buyers at the six-month-out point. If galleys are not ready, the next best option is to present a title, cover image, table of contents, a few sample chapters, and the ever-important marketing plan. Plan to have these critical materials ready at least six months before your desired pub date in order to maximize your chances of a successful pitch.
There are many other factors that may present timeline delays depending on what publishing route you take. Here is a quick rundown of the factors to consider, along with time estimates:
If you go the traditional route…
Time to get an agent: Once your manuscript is complete and polished, 12 months
Time for the agent to shop your book: Once you have an agent, 6-18 months
Time to publish with a traditional publisher: Once the agent finds a buyer, 12 months
If you do it yourself…
Time to print offset, domestically: 6-8 weeks
Time to get a distributor: 1-3 months
Time for sales presentation to buyers: 6 months before book release
These estimates are averages and many of these processes can be faster or slower. In your pursuit of the perfect release date, whether it’s for the holidays, spring, or the beginning of the school year, make sure you allow yourself plenty of time to research and plan for each step in the publishing process. If you want to maximize the sales potential and buzz around the release of your book, be realistic about what goes into each leg of the journey and set your timeline accordingly.
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Quiz: Which Publishing Option is Best For You?
July 15, 2010
by Shennandoah Diaz
Publishing is not a one-size fits all endeavor. Which option is best for you depends on your skills, genre, goals, project, and budget. The questionnaire below will help you identify which publishing option to pursue:
Would you rather:
- Not spend your own money and get paid up front
- Pay just to print in exchange for a moderate return
- Make a reasonable up-front investment for a higher return
Would you prefer to:
- Let someone else handle the entire process
- Manage the process yourself
- Retain creative control while working with an experienced team
In terms of marketing and sales, are you more comfortable:
- Handling your marketing, but knowing the publisher’s credibility will carry you through the distribution chain
- Handling all of your marketing and forgoing retail distribution
- Coordinating your marketing efforts with an organized and strategic campaign through retail and specialty distribution channels while having the option to sell directly
In terms of creating content, are you more comfortable:
- Writing it yourself, but working with an editor to finalize it
- Writing and editing it all yourself—I’ll hire an editor if I need one
- Writing it yourself, but using the help of a ghost writer or an editor to organize your thoughts and save time
When it comes to design, would you rather:
- Leave it to the pros
- Do it yourself
- Have creative control, but work with a skilled designer
When it comes to distribution, do you want:
- Access to a traditional distribution chain
- To sell them all yourself
- A combination of traditional distribution and the ability to sell books on your own in return for the full cover price
Answer Key:
Mostly 1’s: Traditional publishing is probably the best option for you.
Mostly 2’s: Vanity, new technology, or self-publishing may be best for you.
Mostly 3’s: An independent/hybrid publisher is likely the best fit.
Regardless of which option you choose to pursue, it is vital that you protect yourself by doing your homework, taking the time to weigh the pros and cons, and analyzing the option’s ability to help you meet your short and long-term goals. Publishing a book is a smart and crucial step toward building your brand. Take the time to do it right.
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Publishing, Avant-Garde: Blogs & Online Journals
December 31, 2009
by Auburn Rutledge
Publishing, Avant-Garde continues with topic number two: BLOGS & ONLINE JOURNALS.
Assuming that you read any manner of blog or online journal—including this one—then you are more likely than not familiar with the concept. However, for the less initiated, we’ll turn to the trustworthy Wikipedia for a complete definition:
A blog (a contraction of the term "web log") is a type of website, usually maintained by an individual with regular entries of commentary, descriptions of events, or other material such as graphics or video.
Many blogs provide commentary or news on a particular subject; others function as more personal online diaries. A typical blog combines text, images, and links to other blogs, Web pages, and other media related to its topic. The ability for readers to leave comments in an interactive format is an important part of many blogs.
Popular hosts and providers of blogs and online journals include Blogger, WordPress, Typepad, LiveJournal, Movable Type and Blogware. Some are free, some paid, and each offers a different mixture of features, applications, widgets and communities. It’s a matter of preference that determines which provider you use.
The reason I want to spotlight blogs and online journals for writers is their twofold function: a place from which to build a platform as a writer, and a place in which to showcase your work.
As to platform—it has become expected, if not an unwritten rule, that a writer should continuously develop a web presence. This is an extremely important aspect of platform-building, especially as more and more people every year begin to rely upon the Internet as a source of information for all things, including entertainment. Which means books. Which means you.
You can find some great information about the basics of blogging (and specifically author blogging) here:
- wikiHow: How to Start a Blog, 8 Steps (with video)
- ABA Feature Comparison of Major Blog Providers
- Online Journalism’s Review: Are you using the right blogging tool?
- Petrona: An overlong post about blog providers
- Daily Blog Tips: Copyright Law, 12 Dos and Don’ts
- Lorelle on Blogging: Should Authors Blog?
- Marketing Tools for Authors, Writers, and Entrepreneurs: Why Should Authors Blog?
- suite 101: Blogging is a Marketing Tool for Writers
- Bob Baker’s Full-Time Author Blog
The focus of this article is the ‘showcasing your work’ aspect. This is as equally applicable to established authors as it is to beginners. What it means is that people can visit your blog and get a taste of your writing style, tone, background, genre. Essentially, they can get a feel for you.
I’ve visited author blogs that have posted writing across the gamut: excerpts of published novels, segments from drafts of unpublished ones, research for nonfiction works, character descriptions, story outlines, book trailers, audiobook links, e-books, and more. This is in addition to observations about writing, art, culture, the business of publishing, and posts on everyday life. In essence, blogs act as public journals of the creative process of writing.
A few examples of author blogs:
- The Temp, The Actress and the Writer (Adrienne Kress)
- Neil Gaiman’s Journal
- Laurell K. Hamilton
- Seth’s Blog (Seth Godin)
- Tess Gerritsen’s Blog
- Mad Woman in the Forest (Laurie Halse Anderson)
- A Writer’s Life (Lee Goldberg)
You can find more comprehensive lists at Technorati, Author Blogs (under construction as of December 2009), The Internet Writing Journal and The YA Book Blog Directory.
You may be wondering: Does ‘showcasing your work’ on a blog or journal mean that it is considered published?
The general consensus is that for legal purposes, publishing excerpts of your work online is not considered publishing in the traditional sense. While I would not recommend posting the entirety of your unpublished work on your blog (in the event that you do plan on submitting your work to publishers), there are other options for those who are considering a strictly self-publishing route—this includes downloadable or e-book content hosted on your blog. For published authors, it is best to check your publisher’s contract with you before posting to your heart’s content, but small segments to interest potential readers seems to be acceptable pretty much across the spectrum.
Having writing samples posted on your blog in addition to regular ‘blogging’ (the commentary, opinions, links and etc. mentioned above) also allows potential publishers and agents to peruse more examples of your work then you may have sent with a query letter, and lets them know that you are working hard on your platform. In this sense, it is crucial that your blog is active. This does not mean writing a research paper daily. You can segment pieces of your writing and set them to auto-update, or write several posts in advance and then spread them out over the course of a few days or weeks. Once you’ve explored a few approaches, you’ll find a natural rhythm—whether it’s short updates daily or longer pieces once or twice a week. The more you post, the more interesting the posts are, and the more you share, the more followers (and hopefully fans and readers) you will gain. And why say no to any extra chance to refine your writing skills?
In essence, blogs are an invaluable enhancement to your credentials—a portfolio that demonstrates your talents like any other artist, including those in visual and media arts. It’s a resume, a curriculum vitae both artistic and practical. It can be as intimate or business-like as you please. You can share as much or little as you want. The blog is the gift of the contemporary author, so use it to the best of your advantage.
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Big Bad Weekly Tip: The First Self-Publishing Book Expo is Coming
October 13, 2009
by GreenleafBookGroup
Self-published books and authors will finally have the spotlight at the first annual Self-Publishing Book Expo (SPBE) in New York City. Featuring an appearance by our very own Tanya Hall, the SPBE will be a great learning and networking opportunity if you live near New York City or have been thinking of taking a trip to the Big Apple.
Open to the public, the SPBE will offer authors a unique opportunity to exhibit and sell their books. Authors and attendees will also have a chance to get expert advice on a wide variety of topics from publishing experts and industry veterans, through a series of panels, lectures and discussions scheduled throughout the day. In addition to the general public, editors, publishers, literary agents, and members of the media are expected to attend the event, all looking for hidden gems and great stories that may otherwise be under their radar.
The SPBE will be held in New York City on Saturday, November 7, 2009 from 9:30 a.m. to 5:00 p.m. at the Sheraton New York Hotel & Towers. To register, or for more information, visit www.selfpubbookexpo.com.
ALSO ON THE RADAR: Author 101 University is taking place in Las Vegas on October 30-31, 2009 at the Green Valley Ranch Resort, Spa and Casino.
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Peace of Mind for Independent Publishers: Insurance to Cover Your Liability as an Independent Publisher
September 2, 2009
by GreenleafBookGroup
Every time you publish a book, article, or blog, you become a potential target for a lawsuit. To protect yourself, you might consider looking into media liability insurance. There are other options available, but a good place to start is the new automated WriteInsure™ program from the Publiability Division of Argo Insurance Brokers, Inc. WriteInsure is an affordable media perils insurance program that was designed specifically for independent authors, small publishers, bloggers, and freelance writers. WriteInsure offers limits of liability insurance protection from $100,000 each claim with a $300,000 aggregate all the way up to and including $1,000,000. The WriteInsure policy provides traditional media perils such as, but not limited to, libel, plagiarism, piracy, copyright infringement, defamation, infringement of the right of privacy or publicity, outrage, infliction of emotional distress, misappropriation of property rights, and much more. Importantly, legal defense costs are also included. Visit www.publiability.com and then click on the WriteInsure link to start an online application, or click here to download their FAQ and learn more.
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