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  • 24 May 2012 9:56 AM | Anonymous
    The Internet and the eBook by Steven M. Moore
    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
    I have made some noise in my blog about the fact that I'm going all eBook. I have a list of reasons, but there is always that alter-ego of mine called "buyer's remorse" who is telling me that I'm killing myself. Read on, Barry Eisler and Joe Konrath, and console me.

    Let's enumerate the reasons again. The top one is that I can't afford to keep on paying for POD. Even though prices have come down and service has gone up (I have no complaints about Infinity Publishing's production of trade paperbacks, for example), for the same price I can produce multiple eBooks. I have many stories I want to tell. If this paradigm shift to digital publishing continues, eBook media is my most economical route.


    It's a toss-up which media, eBook or trade paperback, is most effective for marketing, something I'm forced to do on my own. I can't afford even a small ad in the NY Times Book Review section, let alone a trailer that is shown on TV, but that's true whether I'm marketing an eBook or a trade paperback. As for book signings and/or discussions in more traditional venues (bookstores, libraries, book groups, and eclectic coffee shops), I'd say the eBook is at a distinct disadvantage. It's also hard to put an eBook in someone's stocking at Christmas.


    The eBook has an important marketing advantage that counts more for me: It's easy to get an eBook to a reviewer. An author doesn't sell that many books in the traditional venues, especially if you take into account that indie authors are seldom invited to present in these venues. Mary Higgins Clark or Stephen King can sell a few more, I suppose, because they already have name recognition - an adoring public wants to attend so they can say they saw the famous author up close and in person. (To Mary's credit, she recently appeared in our Montclair Public Library, but she was reading to children. At least the adoration was second hand, through the parents. The kids didn't get there by Star Trek transporter.)

    A reviewer that wants a hardcover or trade paperback to review won't get it as fast as one that will receive an eBook. In my case, if it's a recent book of mine, he or she won't ever get it because there's only an eBook version. On the other hand, if he or she accepts an eBook, I can gift it immediately (assuming they have an Internet address). I review for Bookpleasures.com. I prefer to review eBooks and will ask for the eBook version, if it exists, for precisely this reason. Snail mail is so passé, costly, and inefficient.


    But there's the conundrum. The digital revolution in general, and eBooks in particular, exist due to the Internet. The monster lurking in the closet is that not everyone has a fast Internet connection. These connections are more or less limited to heavily populated areas. My brother, bless his soul, lived in rural Ohio for many years. In spite of the close proximity to Cleveland, Chicago, Pittsburgh, and Cincinnati, he struggled with slow Internet connections for most of those years. It's a fact of life in rural areas.


    There is the fact that these rural areas are falling behind in the information revolution. The N.Y. Times recently had a good article about this. The Times sees this as a blow against equal opportunities for all Americans. I'm not sure people in rural areas see it that way. Nevertheless, it presents a real problem for eBooks and the digital paradigm shift in book publishing.


    Even in a cabin in the backwoods of the Sierra Nevada, I can sit down and read - maybe by lantern light, but I can still read. But I probably can't have an Internet hookup, even a slow one. That means that if I'm reading my Kindle, I can't download a new book to read in situ. Of course, I can't order a new trade paperback either. But, if I had that Internet connection, I could download and be reading my new acquisition within minutes before the snail mail person can even start thinking about how to get through the snow to deliver the paperback to the nearest general store.


    Do you see my point? By restricting myself to eBook publication, I'm also restricting my potential audience. Not only is there the chance that no one in rural areas will read my eBook (what are the chances that the local library has it on loan?). There are also many people who just aren't into eBooks. They can't get past that pleasure of turning the page, dog-earing pages with pithy prose, jotting down notes in the margins, etc. I know. I thought I was one of them. Now I can't imagine life without my Kindle.


    So, Barry and Joe, what kind words of consolation do you offer? I don't know how the demographics work. Maybe those rural areas don't count for much, population-wise, but I know that if lived there I would be even more prone to entertain myself with a good book. The nearest movie theater and ethnic restaurant might be many, many miles away (I don't count overcooked Chinese vegetables in Utah or molasses-consistency chili con carne in Iowa as good ethnic food). A nice provolone and salami sandwich on rye, my one-fingered glass of Jameson's, and a good book sounds like the way to go.


    I guess I must accept that there are many readers that I just can't reach. I don't reach many now anyway, even with the wonderful Internet at my disposal. Barry and Joe have name recognition. I don't. Apparently many people read my blog but don't buy my books. Maybe you just don't like paying for stuff. Sorry. My eBooks are bargains (I don't charge by the hour). Nevertheless, I need to recover expenses, even if I'm choosing a media, eBooks, that offers the least expensive way to put my stories before the public.


    Steven M. Moore has written six sci-fi thrillers: The Secret Lab, The Midas Bomb, Full Medical, Evil Agenda, Soldiers of God, and Survivors of the Chaos. The first is a novel for young adults. His interests include mathematics, physics, forensics, genetics, robotics, and scientific ethics, as well as writing dystopian novels containing a glimmer of hope. He has an active blog comprised of op-ed posts, book reviews, interviews, short stories, and comments on the writing business. His wife and he currently live in New Jersey. Visit him at his website: http://stevenmmoore.com.

  • 11 Apr 2012 5:11 PM | Anonymous
    Self-Made Bestseller Weighs Traditional Deals
    Self-Publishing


    http://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/51416-self-made-bestseller-weighs-traditional-deals.html

    He states how here,
    For now, Nelson and Howey are focusing on selling dramatic rights and foreign rights to Wool. Kassie Evashevski at United Talent Agency is shopping the book in Los Angeles, while Jenny Meyer, at Jenny Meyer Literary, is handling the bulk of foreign sales and will be representing the series at the London Book Fair. (So far, Wool has sold in a five-figure pre-empt in Brazil, and there are offers in Germany, Spain, and the U.K.)



    Hugh Howey has not quite broken out in the way recent self-publishing superstars like Amanda Hocking and John Locke have, but his sales record has made New York publishing houses take notice. Best known among his avid fan base for Wool, his five-part science fiction series, Howey estimates that this year alone he has sold nearly 140,000 copies of his work. Now, with an agent, he’s been entertaining offers from traditional houses. The problem, he told PW, is the digital royalty rate he’s being offered.


    The first title in the Wool series, called Wool, began as a short story, which Howey self-published through multiple platforms in July 2011. Howey had already worked with a small publisher at that pointundefinedNorlights Press, in Indiana, had released his YA novel Molly Fyde and the Parsona Rescue in 2009undefinedand though he said he had a positive experience, his impatience, more than anything else, encouraged him to go the DIY route.

    Howey is very active with his fans: readers who buy print editions of his books through his Web site receive signed copies, and he regularly responds to e-mail. But he believes that word-of-mouth ignited his sales more than any outreach he did via Twitter or other social networking platforms. With the Wool series, he said, there was something of a slow build and, for the most part, his sales have seen a major uptick in the past few months; he made $19,000 from his fiction in January, $50,000 in February, and $70,000 in March. Each installment of Wool is priced at 99 cents.


    According to Howey, Wool accounts for roughly half his sales. and he credited the word-of-mouth mainly to his Amazon reviews. When he joined Amazon’s Kindle Select program (which forced him to pull his titles from Apple’s iBookstore and B&N’s Nook store), he said sales rose even more quicklyundefinedboosted by hitting the Kindle bestseller lists.

    Coverage of Howey has been scantundefinedhe was featured in Wired (online) and on the tech-centric Web site BoingBoingundefinedand it was a reader recommendation, not press, that turned agent Kristin Nelson on to the author. Nelson read the series and contacted Howey in February. In their initial discussions Nelson said she talked about how a traditional book deal might not suit him, but persuaded him that he would need professional guidance to get Wool into the right hands in Hollywood and published abroad. “I think a number of agents [Hugh] talked to wanted him to come on board so they could get a cut of his existing [sales]. I knew we’d make money somehow, so I was mellow about those kinds of things. And I believe, if you’re taking on someone who’s already got a brand, a traditional deal might not be the best way to go, since you likely won’t get the terms.”


    Certainly Howey doesn’t view the terms from the traditional houses very favorably. “It’s hard to think about giving up a 70% royalty for an 18% royalty,” he said, referring to Amazon’s digital royalty rate, compared to the rate many large publishers offer. “The transaction has changed when it comes to successful independent authors,” Howey said. “I’d be giving up existing sales [with a traditional deal]. I’d be giving up the freedom to write what I want. To publish as quickly as I want. But publishers don’t seem to realize this.” However, Howey said he would still love to partner with a publisher and reach more readers “if the right offer came along.”


    For now, Nelson and Howey are focusing on selling dramatic rights and foreign rights to Wool. Kassie Evashevski at United Talent Agency is shopping the book in Los Angeles, while Jenny Meyer, at Jenny Meyer Literary, is handling the bulk of foreign sales and will be representing the series at the London Book Fair. (So far, Wool has sold in a five-figure pre-empt in Brazil, and there are offers in Germany, Spain, and the U.K.)


    Even though there is a lot of new activity around his backlist and the Wool series, Howey is not slowing his writing pace. He’s currently working on a prequel series to Wool, called Legacy (which will also be published in installments); the first one, First Shift, is set to come out at the end of this month.

  • 06 Apr 2012 7:47 AM | Anonymous
    You heard that saying, "Rome wasn't built in a day."

    Well it's true about ANY business and most businesses take about 3 years to show what their true potential is. Three years to know it's market, to fine-tune it's product and to be comfortable with who they are.

    FIRST STEPS

    When we started our small independent press I was super excited. But my partner made it clear that we would take it slow. Create a business milestone for each year. Our goals for our first year are different than many small presses or indies are that you see around on the internet who start off as mainly small or indie ebook publishers. We had big dreams of breaking into the 'trade' and establishing ourselves as a small press that had books in bookstores, libraries, and other outlets.

    How did we do that? Well we joined Independent Book Publishers Association (IBPA) and started networking, learning how to build in that direction. We had to give our business a presence of its own and Phenomenal One Press was beginning to gain that. In addition we decided to wait before presenting our company's product to the trade via Publishers Marketplace and Foreign Rights fairs because we wanted to have more products available for presentation when bringing up our publishing page on Publishers Marketplace, PubMatch, and pursuing subsidiary rights or Foreign rights sales.

    Another friend of ours started theirs small indie publishing company focused on the end consumer (reader) market and started publishing their content or books in only ebook formats since that format was cheaper for publishing. Then they waited until their books gained popularity before offering Paperbook formats. Since then she now offers her book in hardcover formats and audio books. But she added a format each year.

    LEARNING TO WALK

    Most serious businesses start with a business plan - or goal sheet for what they hope to accomplish. Ours was initially a tall order for our first year. Produce 2 books in non-competing genre, promote them and become known in our regional area as a small press. You know what ... we did it. Not only that, we did more. But the great part was, independent book publishers were becoming more visible and there was a realization that they all weren't bad.

    Also, with being a member of IBPA, Maryland Writers Association and Mid Atlantic Book Publishers Association I began meeting people who owned small independent presses like mine or that 'self-published' like we were doing and they found considerable success and acceptance within their markets by doing so. That was the support that our small independent press needed.

    WALKING UPRIGHT

    This year we are starting our two-year establishment plan. We finally think we are ready to present our products more seriously to the trade. Now we are on Publishers Marketplace. And this year will be pursuing sales of our books for Subsidiary Rights and Foreign Rights. Which we've been studying up on for the last year.

    Also, now I am the Vice President of MBPA (Mid Atlantic Book Publishers) and I believe whole-heartedly in sharing the knowledge. And am working with our board members to have a Subsidiary Rights Fair we are planning for June 2nd the weekend before BEA to prepare our members for the coming Foreign Rights Fairs coming up later this year. Our president, Mary Shafer did an amazing feet and invited some very knowledgeable people to our meeting to teach us about pursuing these exciting avenues towards sales.

    Now we are walking taller. We've come a long way. In the next year we are hoping to add additional authors to the fold. 2013 proves to be exciting. But we still have some growth.

    SO, if you SELF-PUBLISH, start a SMALL PRESS or want to,
    DO YOU HAVE A PLAN?

    Goals on how you are going to grow your business? If you don't join others that can help you, mentor you, and encourage your business. And remember, a PUBLISHER is someone that edits, prepares, and presents items for sale.
  • 26 Mar 2012 5:10 PM | Anonymous
    Mid Atlantic Book Publishers will be chatting tonight (use #MBPA to follow chat - Thur. 12/1/2011 at 9pm EST)on this topic.

    When you write your book do you see STARS? Dream of that movie deal?

    One of the main reasons many would love to be with a large pub is to get a movie option for one of there books.

    Of course, that is every writer's dream. But is it possible to do as an Indie Press, Self Published Author or Small Press?

    I believe ... anything is possible if you know the roads traveled.

    But statistics say - only a small percent of Small Press and Indie has achieved this.

    HOW DOES A SMALL PRESS GO ABOUT THIS?

    If one can land a Publishing Entertainment Attorney that does this, has contacts and is on bored with shopping the manuscript turned script to possible clients. This is best done before the book comes out. But if it happens after then that's awesome also.

    Movie Options can garner a small press or large press from $500-Millions of dollars.

    And I know an Indie Author that worked hard at getting the word out about her non-fiction book about serial killers and garnered her Movie Option on her own. So yes people - it can happen.

    WHAT TO SELL:

    Screenplay writes, Novelization writes, Sequel Rights, Consultant fees and Remake writes.

    SOME WAYS John Kremer has composed in his book 1001 Ways to Market Your Books:

    Use movie scouts who work for producers, sell direct to studio using the Hollywood Creative Directory, list your books with an online web site, list your books with an online we site, network (by going to film related events).

    CAN IT REALLY HAPPEN:

    Yes, but just like everything else in this business, it takes time, networking with the right people.
  • 03 Dec 2011 12:54 PM | Anonymous
    Small pubbers listen up if you publish your books and short stories on Smashwords for flow to Kobo and other formats. You will now need ISBNs for even your short stories.

    We got this email from Smashwords:

    Without an ISBN, we cannot ship the book to Apple or Sony,
    and will no longer be able to ship it to Kobo.

    Attach ISBNs to your books now so we can get them to these retailers before
    the big post-Christmas rush! Visit the ISBN Manager in your Dashboard:

    https://www.smashwords.com/ dashboard/ISBNManager

    Please note: If your book previously shipped to Kobo without an ISBN, they will
    soon remove the book until it has an ISBN. Once the book has an ISBN, we will
    redeliver it to them during our weekly shipments. (Refer to our October 3rd
    Site Update for more: http://www.smashwords.com/ about/beta )

    More information on ISBNs:

    Keep in mind that if you already have ISBN for your book, if you did not
    receive it from Smashwords, we and our retailers won't know about it until
    you attach it to your book in our ISBN Manager page -- even if you
    listed the ISBN inside your book.

    To learn more about ISBNs, visit our ISBN FAQ page:

    http://www.smashwords.com/ about/supportfaq#isbn
  • 29 Nov 2011 4:26 PM | Anonymous
    Don't forget to submit your books to Google ebooks for sale. It's a cool app for ipad users.

    Here's the link for publishers:
    http://books.google.com/support/partner/bin/answer.py?hl=en&answer=106169

    *This is taken from the Google publishers page:

    Adding books

    On this page, we'll walk you through the process of submitting a copy of your book to your Partner Program account, in order to add a preview of your title to Google Books.

    1. Tell us about your books

      Before we can scan and process your books, we require basic information about the titles that you plan to include. If your books don't have ISBNs, you can skip to Send us your books. To add this information to your account, follow these steps:

      1. Sign in to your Google Books account at https://books.google.com/partner/.
      2. Click the Preview Program tab.
      3. Click the link to the Manage Books page.
      4. Click the Add Books link. (If you haven't yet submitted any books, your account should open to this page by default.)
      5. Fill out relevant information about your books, including author, title, ISBN and territorial rights.
        • Multiple authors should be entered with a semicolon separating their names.
        • Territorial rights are the countries for which you hold the rights to display the book on Google; enter all for all countries, or learn how to enter more detailed information.
      6. Click the Save button.

      If you are planning to submit more than five books to your account, you may find it quicker to upload a spreadsheet containing information for multiple books.

    2. Send us your books

      Google asks that you send us the first shipment of books within thirty days from your acceptance of the Google Books Partner Program Standard Terms and Conditions.

      To submit a copy of your book for scanning and processing, you can submit either a physical copy, or a version of your book in PDF format. Please be aware that we're able to process PDF files more quickly than physical books.

      To send us a physical copy of your book, follow these steps:

      1. Make sure your book fits within our size guidelines.
      2. In your Partner Program account, click the Preview Program tab.
      3. Click the link to the Manage Books page.
      4. Click the Add Books link.
      5. Click Upload/Ship Books.
      6. Print a shipping label, making sure to include your listed collection code.
      7. Pack your books in a box with a packing slip in accordance with the listed guidelines.

      Please note that you are responsible for all costs associated with shipping books to Google. Due to our scanning procedures, we're unable to return any materials that you send. You need only send one copy of your book for scanning and processing.

      To upload a PDF file of your book, follow these steps:

      1. In your Partner Program account, click the Preview Program tab.
      2. Click the link to the Manage Books page.
      3. Click the Add Books link.
      4. Click Upload/Ship Books.
      5. If your book has an ISBN, your PDF filename must include it. If it doesn't have an ISBN, it should be named as the title of your book. Please see this page for a more detailed explanation of how to name your files, including instructions for separate cover images, and content spanning multiple files.
      6. Click the Browse button on the web form and locate the PDF file or files for your title.
      7. Click Upload files.
      8. You'll see a confirmation message indicating the status of this upload.

      If you have many books to upload, or if your files are larger than 10 MB, we suggest using the Google Uploader tool, which is optimized for large uploads.


  • 13 Nov 2011 1:53 PM | Anonymous
    Here is a list of some book fairs you may want to attend come 2012

    Entries under each state are arranged by:  Name of event | Location of Event |Time of year event takes place

    Alabama
    Alabama Book Festival  | Montgomery  | Apr
    Alabama Bound Festival  | Birmingham | Apr
    Alabama Tale-Tellin' Festival | Selma  | Oct

    Alaska
    Alaska Book Festival  | Fairbanks  | Summer
    Extreme Trail Tales | Anchorage | Feb/Mar
    Reading Rendezvous  | Anchorage | June
    Writing Rendezvous  | Anchorage | Apr

    Arizona
    Arizona Book Festival | Phoenix | Apr
    Cochise Cowboy & Music Gathering | Sierra Vista | Feb
    Northern Arizona Book Festival | Flagstaff  | Mar/Apr

    Arkansas
    Arkansas Literary Festival  | Little Rock   | April
    Books in Bloom  | Eureka Springs  | May
    Folk Humor, Storytelling and Cowboy Gathering Weekend | Mountain View | Aug

    California
    Bay Area Storytelling Festival  | El Sobrante  | May
    California Indian Storytelling Festival  | Venue varies  | March/Nov
    California International Antiquarian Book Fair | San Francisco(odd years) and Los Angeles (even years) | Feb
    Central Coast Book and Author Festival   | San Luis Obispo   | Sept
    Literary Orange  | Garden Grove   | Apr
    LitQuake   | San Francisco   | Oct
    Los Angeles Latino Book and Family Festival   | Los Angeles  | Oct
    Los Angeles Times Festival of Books |Los Angeles | Apr
    Mariposa Storytelling Festival  | Mariposa   | Mar
    Orange County Children's Book Festival  |Costa Mesa | Sept
    Sonoma County Book Festival   | Santa Rosa   | Sept
    Steinbeck Festival | Salinas | Aug
    Village of Tales: Ojai Storytelling Festival   | Ojai   | May
    West Hollywood Book Fair   | West Hollywood   | Sept

    Colorado
    Writers in the Sky   | Telluride   | Oct

    Connecticut
    Connecticut Children's Book Fair  | Storrs   | Nov
    Connecticut Storytelling Festival | New London | Apr
    Rabbit Hill Festival of Literature   | Westport | Oct

    Delaware
    Delaware Book Festival  | Dover  | Nov

    District of Columbia
    Multicultural Children's Book Festival | Nov
    National Book Festival | Sept

    Florida
    Amelia Island Book Festival | Fernandina Beach  | Sept-Oct
    BookMania!  |Stuart   | Jan
    Children's BookFest  | Fort Lauderdale | Apr
    Festival of Reading | St. Petersburg | Nov
    Key West Literary Seminar | Key West | Jan
    Literary Feast  | Fort Lauderdale  | Mar
    Miami Book Fair International | Miami | Nov
    Much Ado About Books  |Jacksonville  | Feb
    Ocala Storytelling Festival | Arola | Apr
    Sarasota Reading Festival | Sarasota | Nov
    Southwest Florida Reading Festival  | Fort Myers  | Mar
    Tampa-Hillsborough Storytelling Festival | Tampa | Apr
    Vero Beach Book Festival, Vero Beach, Nov
    ZORA! Festival (Zora Neale Hurston Festival of the Arts and Humanities | Eatonville | Jan

    Georgia
    Azalea Storytelling Festival | LaGrange | Mar
    Dahlonega Literary Festival  | Dahlonega   | Feb
    Georgia Literary Festival | venue changes each year  |Aug
    Roswell Magnolia Storytelling Festival | Roswell | June
    Savannah Book Festival   | Savannah  | Feb
    Winter Storytelling Festival  | Atlanta  |Jan-Feb

    Hawaii
    Hawaii Book & Music Festival  | Honolulu   | May
    Kindy Sproat Falsetto and Storytelling Contest | Hilo | Sept
    Talk Story Festival  | Honolulu  |Oct

    Idaho

    Illinois
    Chicago Latino Book & Family Festival  |Chicago  | Nov
    Fox Valley Folk Music & Storytelling | Geneva | Sept
    Illinois Authors Book Fair  | Springfield  | Oct
    Midwest Writers Guild Spring Book Fair   | Evansville   | Mar
    New Salem Storytelling Festival | Petersburg | Aug
    Newberry Library Book Fair | Chicago  | July
    Printers Row Book Fair | Chicago | June
    Storytelling at the Prairie Center | Schaumberg | Mar

    Indiana
    Bristol Hills Storytelling Festival  |Bristol | Sept
    The Hoosier Storytelling Festival | Indianapolis | Oct

    Iowa
    Iowa Storytelling Festival  | Clear Lake | July

    Kansas
    Kansas Book Festival   | Wichita  | Sept - Oct
    River City Reading Festival  | Lawrence  | Oct

    Kentucky
    Cave Run Storytelling Festival | Morehead | Sept
    Corn Island Storytelling Festival | Louisville | Sept
    Kentucky Book Fair | Frankfort | Nov
    Southern Kentucky Book Fest | Bowling Green | Apr

    Louisiana
    Louisiana Book Festival | Baton Rouge | Oct
    New Orleans Book Fair  | New Orleans   | Nov
    Tennessee Williams/New Orleans Literary Festival | New Orleans | Mar

    Maine
    Bangor Book Festival   | Bangor   | Oct
    Maine Festival of the Book   | Portland   | Spring
    Maine Literary Festival   | Camden   | Nov
    Reading Rumpus, Maine Children's Book Festival   | Gardiner  | Sept

    Maryland
    Baltimore Book Festival | Baltimore | Sept
    Bethesda Literary Festival   | Bethesda  | Apr
    Capital BookFest  | Lanham  | Oct

    Massachusetts
    Boston Globe Children's Book Festival | Boston | Oct
    Boston International Antiquarian Book Fair | Boston | Nov
    Martha's Vineyard Book Festival   | Chilmark   | Aug
    Newburyport Literary Festival   | Newburyport  | Apr
    Three Apples Storytelling Festival | Harvard | Sept

    Michigan
    Detroit Story League Storytelling Festival | Livonia | Sept
    Essence of Motown Literary Jam   | Detroit   | Nov
    Grand Haven Area Book Festival   | Grand Haven   | Aug
    Michigan Storytellers Festival | Flint | July

    Minnesota
    Minnesota Book Awards | St. Paul | Apr

    Mississippi
    Fay B. Kaigler Internationsl Children's Book Festival | Hattiesburg | Mar
    Eleventh Moon Storytelling Festival | Natchez | Jan
    Faulkner & Yoknapatawpha Conference  | Oxford   | July
    Natchez Literary and Cinema Celebration | Natchez | Feb
    Oxford Conference for the Book  | Oxford   | Apr
    Tennessee Williams Festival | Clarksdale | Oct

    Missouri
    Children's Literature Festival | Warrensburg | Mar
    Mid Missouri Storytelling Festival   | Jefferson City  | Apr
    Missouri River Storytelling Festival   | St. Charles   | Oct
    St. Louis Storytelling Festival | St. Louis | May

    Montana
    Montana Festival of the Book | Missoula | Sept
    Montana Storytelling Roundup | Cut Bank | Apr

    Nebraska
    Buffalo Commons Storytelling Festival | McCook  | May/June
    Kearney Storytelling Festival | Kearney | Jan
    Nebraska Book Festival | Venue changes each festival | Sept
    Nebraska Storytelling Festival  | Omaha | June

    Nevada
    Cowboy Poetry Gathering | Elko | Jan
    Vegas Valley Book Festival  | Las Vegas (Arts District)  | Nov

    New Hampshire
    Children's Literature Festival | Keene | Oct

    New Jersey
    Collingswood Book Festival  | Collingswood  | Oct
    Dodge Poetry Festival | Hillsborough | /Sept (even years)
    New Jersey Storytelling Festival | Hamilton | July

    New Mexico
    Albuquerque Antiquarian Book Fair | Albuquerque | Apr
    Border Book Festival | Las Cruces | Mar
    Four Corners Storytelling Festival  |Farmington  |Oct
    Taos Storytelling Festival | Taos | Sept

    New York
    Harlem Book Fair  | New York  | July
    Independent and Small Press Book Fair | New York | Dec
    Mohegan Colony Storytelling Festival   | Crompound  | Aug
    New York Antiquarian Book Fair | New York | Apr
    Queens Book Fair, Jamaica, Sept
    Riverway Storytelling Festival  | Albany  | Apr
    Rochester Children's Book Festival  | Rochester  | Nov
    Rockland County Storytelling Festival  | Rockland County | Sept

    North Carolina
    Carolina Mountains Literary Festival   | Burnsville  | Sept
    Fall Storytelling Festival | Raleigh | Sept
    Great Smoky Mountain Book Fair  |Sylva  | Nov
    NC Literary Festival  | Venue changes each festival  | Apr (even years)
    North Carolina Storytelling Festival | Venue changes | Nov
    Novello Festival of Reading | Charlotte | Oct

    North Dakota

    Dakota Cowboy Poetry Gathering   | Medora   | May
    University of North Dakota Writer's Conference
      | Grand Forks   | Mar

    Ohio
    Akron Antiquarian Book Fair  | Cuyahoga Falls  | Apr
    Autumn Book Festival  | Fostoria  | Sept - Oct
    Books by the Banks  | Cincinnati  | Nov
    Buckeye Book Fair | Wooster | Nov
    Spring Literary Festival  | Athens  | May

    Oklahoma
    Festival of Books  | Norman  | Oct
    Oklahoma Book Awards | Oklahoma City | Mar
    WinterTales Storytelling Festival | Oklahoma City | Feb

    Oregon
    Stories By the Sea Storytelling Festival | Newport | Sept
    Tapestry of Tales  |Portland  | Nov

    Pennsylvania
    Philadelphia Book Festival  | Philadelphia  | May
    Three Rivers Storytelling Festival  | Pittsburgh  | Aug

    Rhode Island
    Rhode Island Festival of Children's Books and Authors  | Providence  | Oct
    Rhode Island Storytelling Festival | Newport | Nov

    South Carolina
    A(ugusta) Baker's Dozen: A Celebration of Stories Festival | Columbia | Apr
    South Carolina Book Festival and Antiquarian Book Fair  | Columbia  | Feb
    Patchwork Storytelling Festival | Rock Hill | May

    South Dakota
    South Dakota Festival of Books  | Venue changes each festival  | Sept

    Tennessee
    ETSU Celebration of Books and Authors  | Johnson City, TN  | Apr
    Ocoee Story Fest   | Cleveland  | Mar
    Smoky Mountain Storytelling Festival | Pigeon Forge | Feb
    Southern Festival of Books | Nashville | Oct

    Texas
    George West Storyfest  | George West  |Nov
    Houston Storytelling Festival   | Houston  | Apr
    Squatty Pines Storytelling Festival | Tyler  |Mar
    Texas Book Festival | Austin | Nov
    Texas Cowboy Poetry Gathering | Alpine | Mar
    Texas Storytelling Festival | Denton | Mar
    West Texas Book & Music Festival  | Abilene  | Sept

    Utah
    Utah Humanities Book Festival | Salt Lake City | Oct
    Timpanogos Storytelling Festival | Orem | Aug
    Weber State University Storytelling Festival  | Ogden  |Nov

    Vermont
    Brattleboro Literary Festival  | Brattleboro | Sept 

    Virginia
    Fall for the Book  | Fairfax | Sept
    Lex Allen Annual Literary Festival (Hollins University) | Roanoke | Mar-Apr
    Virginia Book Festival | Charlottsville | Mar
    Virginia Storytelling Gathering | Richmond | Mar - Apr 

    Washington
    Bellingham Storytelling Festival  | Bellingham  | Nov
    Forest Storytelling Festival | Port Angeles | Sept
    Get Lit!  |Spokane and Cheney  | Apr
    Seattle Antiquarian Book Fair  | Seattle  | Oct

    West Virginia
    Ohio River Festival of Books  | Huntington  | Mar - April (every 2 years)
    West Virginia Book Festival  | Charleston  |Oct

    Wisconsin
    Wisconsin Book Festival   | Madison  | Oct

    Wyoming
    Wyoming Book Festival  | Cheyenne  | Sept


  • 10 Nov 2011 2:58 PM | Anonymous
    I signed up for this great newsletter. Here's a tip I'd like to pass along regarding creation of book covers.

    sign up for newsletter here: http://www.amarketingexpert.com/

    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
    THE BOOK MARKETING EXPERT NEWSLETTER!
    A newsletter all about SUCCESSFUL publishing and POWERFUL promotion.
    Nov. 10, 2011 Issue #259
    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

    Feature Article: Eight Mistakes that Will Absolutely Kill Your Book!
    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
    The covers we choose for our books are much more significant than many authors think. Over the years I've seen everything from a finely designed book cover, to one the author created himself. Now, there's nothing wrong with designing your own cover - if you're actually a cover designer. Otherwise, you should leave it to the pros.

    I recently had an opportunity to sit down with my friend and colleague Hobie Hobart to talk about the importance of book covers. I think some of his answers will surprise you!

    1. How long does the average consumer spend viewing a book cover before he or she decides to buy or not buy the book?

    Bookstore browsers spend an average of 8 seconds looking at the front cover and 15 seconds studying the back cover before making a buying decision where your book goes straight to the cash register, not back on the shelf.

    Online bookstores such as Amazon reduce the decision time even further. In mere seconds, your cover sings or is ignored among the other small thumbnail covers in the search genre.

    Mobile devices display book covers and branding down to a small image about 58 pixels square!

    John Willig, president and literary agent of Literary Services Inc., told me about his agency's "3-Second Rule" which they use in evaluating any book submission. If the cover doesn't grab them in 3 seconds they pass on it. Only 3 seconds!

    2. What are the biggest mistakes you see in book cover design?

    You want your book designed good, fast and cheap. The reality is that you can have only two of these three.

    The fast-and-cheap combo is very popular right now but it produces substandard quality and cookie-cutter looks - not a winning combination if you want to sell a sizeable number of books or if you care how the book influences your brand.

    You get a limited number of templates to choose from for your book cover. These book production "factories" have no time in the schedule or room in the budget to slow down and pay attention to quality or your image, let alone other important factors which influence the power of your cover.

    The bottom line is when you pay dime store design prices, you need to expect dime store quality books.

    3. Is it ever a good idea to put your picture on a book cover?

    This is contingent on many factors so the initial answer is, it depends. It IS a good idea, and nearly mandatory, to use your picture on the front cover if you are a Barack Obama, an Oprah, or a renowned superstar. Many authors think that putting their picture on the front cover will make them famous. This is not necessarily so. Unless you are well known in the media, bookstore buyers will not accept your book which pictures you on the front cover. However, if you are selling exclusively to a tight niche where you are well known, or your intention is to start branding yourself to a specific market, your photo on the front cover or the spine can be an advantage.

    4. What do bookstore book buyers look for in a book cover?

    Bookstore book buyers want concise, quick information. They are very attuned to various aspects of their clientele and can instantly tell if that group would be interested in a particular book. The front cover (or spine, if displayed spine out) must lure them in with an attractive, compelling visual, and then a sizzling spot-on title which will hold their interest. The front cover works in a very subliminal way. Once the front cover draws the bookstore browser in, it is expected that the back cover will provide clear reasons why this book is right for them.

    Nora Rawlinson, past Editor-in-Chief of Publishers Weekly, says, "Why not judge a book by its cover? - Anyone who has sat through a sales conference can attest to the widely held belief that you CAN tell a book by its cover. And booksellers are as enamored of dust jackets as sales reps. In our study of booksellers' assessments of publisher marketing efforts, 75% of the 300 booksellers surveyed (half from independents and half from chains) said that, of all the elements of the book itself, the look and design of the cover was the most important - The jacket is prime real estate for promoting a book."

    5. What distinguishes a bestselling, brand-building book from one that practically guarantees your book will never sell?

    Though there are many answers to this question, the most important would be that the cover must absolutely make a connection between your book and your chosen target market. The colors, typestyles and images (if you are using some) must be compatible with the preferences of that market to elicit an immediate response that says, "Pick me!" The title and subtitle have to be concise and compelling. The clear visual reference to a series or previous bestseller, the format of the book (hardcover, softcover, large, small), the look of the inside page design, the width of the spine, the weight and feel of the cover stock - all of these and more need to be right to garner bestselling status and build a brand, and to avoid a garage full of dusty unsold books.

    6. How did one of your self-published authors reach bestseller status (over 1,500,000 copies sold!) without being in a bookstore?

    Our client, Ruby Payne of aha Process! self-published her book, "A Framework for Understanding Poverty" nearly 15 years ago with a completely homespun, generic cover. The colors were red, black and yellow with outdated silhouette artwork. She developed her marketing methods (which were brilliant) in an organic way, totally rooted in her desire to get the message out to as many people as possible. The book sold fairly consistently for many years. Then we redesigned the cover, maintaining the existing brand while lifting it from a down-home self-published look to the serious professional look of a major publishing house. Sales of the book soared with the dressed-up branding of the book and all relating marketing collateral. Although she had no desire to jump through the hoops necessary for placement in mainstream bookstores, Ruby was so good at getting her information out to those who wanted and needed it that eventually Barnes and Noble came to her and asked to carry her book because so many people around the country were requesting it. Today, this book IS in the bookstore and Barnes and Noble is her largest customer!

    7. How can authors evaluate and know that their title and subtitle are clear, compelling and appropriate for their market?

    Evaluating a title and subtitle must be done on two levels. First, it must clearly get the reader's attention while in the midst of a multitude of other competing titles, and clearly answer the question: "What is this book about and what's in it for me?" Second, it must deliver that message in an emotional and a rational way. The highly-successful publishing agent, Jilian Manus, told it to me this way: The title must be a "heart" message designed to elicit a powerful emotional response from the reader. The subtitle is a "head" message that informs the reader as to the primary benefit he or she will receive from buying and reading the book. Together the title and subtitle must quickly convey the features, benefits and advantages of your book, and that needs to be understood in 8 seconds or less. If the connection is not made by then, your chance of selling your book to that reader is probably gone forever.

    8. How can I be sure I'm choosing the right cover design?

    Start by selecting a professional designer who has solid experience in creating bestselling cover design that does its intended job.

    Second, if you feel a need to gather opinions about your proposed cover design, do so only from a qualified focus group composed of prospective readers in your market segment who are interested in this specific topic. As an author, you are in your forest and it's easy to seek input from people you know, like your spouse, friends and co-workers. They care for you and want what's best for you, so it's safe to trust their advice, right? WRONG! In reality, their opinions are pretty much useless. They are most likely not your target audience so what they think, well, it simply doesn't matter. If you develop your book to make your friends and family happy, you end up with a book which won't appeal to your buying audience.

    Third, when surveying your focus group, do not ask "What do you think about my cover design?" Ask this question, and this question only: "Would you buy this book?" Then sit back and wait for the answer. You are not soliciting opinions about design. Don't even mention it. You only want to know if the cover compels them to buy.

    About Hobie Hobart

    For over 25 years, Hobie Hobart and his partner Kathi Dunn (known as one of the country's top book cover designers) have created success tools like bestselling book covers and information products that authors, speakers and experts use to build their brands and business empires. Hobie's company, Dunn+Associates Strategic Design and Branding for Authors and Experts, worked for six years with Tony Robbins, developing seminar promotional materials and products including Tony's legendary infomercial product, the PowerTalk series. http://www.dunn-design.com/


  • 03 Nov 2011 6:20 PM | Anonymous

    Great blog post from:

    Here's the link: http://blog.marketingtipsforauthors.com/2011/07/how-to-sell-to-libraries-top-10.html

    How to Sell to Libraries– Top 10 Strategies for Independent Authors and Publishers
    by Dana Lynn Smith

    America's 123,000 libraries purchase nearly $2 billion worth of books annually, according to statistics from the American Library Association and the Book Industry Study Group. Nonfiction books are especially well suited to library sales. To sell fiction to libraries, it's helpful to have reviews in journals, book awards, or a strong local tie-in, such as a novel being set in the region.

    Here are ten tips on how to sell to libraries:

    1. Publish a library-friendly book. Library books take a lot of abuse, so libraries prefer books that are sturdy. However, given the choice between a hardcover and paperback edition, they may choose the paperback because it's less expensive. Libraries generally will not purchase books with spiral or other nontraditional binding, and they don't like books with "fill-in-the-blank" pages. Nonfiction books should have a good index and preferably a bibliography. Librarians also prefer to purchase books that are cataloged using CIP (cataloging-in-publication) data.

    2. Get your book reviewed in a library journal. Library purchasing decisions are based largely on reviews in the major journals. It's impossible for librarians to keep up with the huge volume of books being published, and they value the screening process that the journals provide. Eligibility and submission instructions vary by publication, so read the requirements carefully. Unfortunately, the journals can review only a small percentage of the books submitted to them. If you aren't able to get reviewed in major journals, play up your other reviews in your marketing materials.

    3. Make sure your book is available through major library wholesalers such as Baker & Taylor and Ingram. The majority of library book purchases are made through wholesalers, and some libraries won't order directly from small publishers.

    4. Apply to work with a library distributor such as Quality Books or Unique Books, if you have a nonfiction book to sell to libraries.

    5. Solicit testimonials from librarians to add to your marketing materials, and play up any awards the book has won.

    6. Contact libraries in your area to inquire about programs for local authors, and contact libraries in towns you visit. Let the library know about your events or media coverage in the area, such as book signings, radio interviews, or newspaper feature stories.

    7. Look into speaking opportunities at libraries, like lectures and readings. In some cases you can sell copies of your book at your event or even get paid a speaking fee. Sometimes these events are organized by the "friends of the library" or other similar volunteer groups.

    8. Send direct mail to libraries, either on your own or through co-operative mailings. Address mail to the Collection Development Librarian for your subject area, and include a flyer with book details and a list of wholesalers and distributors that carry your book.

    9. Consider donating a sample copy of your book to a few top library systems, to encourage purchases for branch libraries.

    10. Exhibit at library tradeshows through co-operative exhibit programs such as those offered through the Independent Book Publishers Association, Combined Book Exhibit, and other organizations to sell your book to libraries.
  • 03 Nov 2011 6:27 AM | Anonymous

    News from NAIBA (New Atlantic Independent Booksellers Assn.)


    Sparta Books is moving. On November 1 they will be just five doors down from their current storefront, moving into 29 Theatre Center in Sparta, NJ.  Owner, Donna Fell is excited about the move, which will give her a better floorplan and the chance to make a visual statement through colors, layout and flooring. She is happy that she can do all this and still stay a viable part of the community.  

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