Tardif on Andrew Wylie, Random House and Amazon dispute

Everyone in the book world has been buzzing about the controversial move made by New York literary agent Andrew Wylie, who according to book industry expert Jerry D. Simmons "earned the nickname "the Jackal" for a reason; he doesn't mess around when it comes to his clients." Wylie recently teamed up with Amazon on an exclusive deal to have the mega book retailer sell his clients' ebooks, bypassing the regular route of finding publishers for his clients first.

Some of the controversy stems from the fact that Wylie is the agent. His job is to sell his clients' works to a publisher, and many believe he has crossed some boundaries here. Questions arise like "Isn't this a conflict of interest then?" Is it fair for him to take a publisher's cut on top of an agent percentage? Will he? How hard will he work to sell his clients' print rights if he's investing time into the ebook venue?

While I agree this is a bold move on Wylie's part, I think it's also a reflection of the monumental changes that have occurred--and WILL occur--in the book publishing industry. Authors are jumping onboard the ebook train, independently and with their publishers. And I can see why. Amazon recently reported that ebooks far outsold hardcovers. Jeff Bezos, Amazon CEO, reported, "Even while our hardcover sales continue to grow, the Kindle format has now overtaken the hardcover format. Amazon.com customers now purchase more Kindle books than hardcover books." Everyone wants in on the ebook craze. Can we blame them?

Authors Guild has raised some concerns over the issue. They believe publishers were largely to blame for the dispute that has risen between Random House and Andrew Wylie. Random House has stated they will not conduct business with the agent until the issue is resolved. Authors Guild is concerned also about the exclusivity agreement, stating, "That the Wylie/Odyssey agreement is reportedly exclusive raises many questions and concerns. Amazon has, time and again, wielded its clout in the industry ruthlessly, with little apparent regard for its relationships with authors or publishers or, for that matter, antitrust rules."

American Booksellers Association CEO Oren Teicher also voiced his concern: "The issues sparked by evolving business models in the rapidly developing world of digital publishing are multifaceted and, at times, complex. However, from the perspective of independent booksellers one important reality is unchanged: Diminishing the availability of titles and narrowing the options for readers can only harm our society in the long run. That the Wylie agency has sought to distribute these works through a single retailer is bad for the book industry and bad for consumers."

Jerry D. Simmons, who has been in the publishing industry for nearly 33 years, has this to say about Wylie's decision: "Either way Amazon deserves a big place at the table for selling content in printed and digital format. However they are not the only game in town and teaming up with them exclusively is wrong. This means that any reader interested in an eBook from one of Andrew Wylie's authors must purchase a Kindle. The better choice for Mr. Wylie would have been a separate deal with Amazon, Apple and anyone else who distributed eBooks to offer those titles across the board."

I agree with Jerry, who runs a publishing company and WritersReaders. It is far better to have your books distributed through multiple retailers than to team up with just one--no matter how big that giant is. As a reader, when I want to buy books I want a choice of places to shop. I don't want to be limited to one store, one format, one experience. As an author, I want to offer my readers a variety of formats, as many as possible so that they have a choice. I would not want to be the author who has to say, "I'm sorry but you'll have to buy a Kindle to read my ebooks." I prefer to say, "You can read my ebooks on your PC, laptop, iPhone, Blackberry, Android, iPad, Nook, Kindle, Kobo, Sony...etc."

In response to book industry outcry, Andrew Wylie told the New York Times, "I’m going to think about it a little bit...we take it seriously, as do the authors we represent. This area of discussion and negotiation needs to be resolved."

I think that's a good idea. Take some time and think things over before jumping into the frying pan. While being a trailblazer in a new frontier is commendable, Wylie's exclusive deal could backfire on him. It could hurt his authors' chances of ever getting published by a major publisher. It could create tension for other author/publisher relationships. Wylie's day of "the Jackal" may be over sooner than he thinks. Or he could see such huge success that other agents follow his lead. Only time will tell.

For now it's safe to say that old models in the publishing world are just that--OLD. It's time for change, no matter how scary and unpredictable that change may be. Authors, literary agents and publishers must learn to adapt unless they want to be swept under by the tide of change.

Readers, what do you think? How would you feel if your favorite author told you you'd have to buy a Kindle to be able to read his or her books?

Authors, would you want this exclusive deal? Do you think there'd be a conflict of interest and that your agent would be less inclined to push print sales to publishers? Would it hurt your chances of having your books read by publishers?

Cheryl Kaye Tardif is a bestselling author of suspense, paranormal and inspiring mystery. Her latest release, Skeletons in the Closet & Other Creepy Stories, was inspired by Stephen King short story collections, and Twilight Zone and The Hitchhiker television series. You can learn more about her at http://www.cherylktardif.com/ and http://www.cherylktardif.blogspot.com/

A Publisher Shares Tips on Marketing at a Minimum

Publisher Jerry D. Simmons, who worked for Warner Books for over two decades before branching out to form his own publishing company, shares his insights on marketing books with some easy to follow tips.

"Selling books without a minimum marketing effort will result in poor sales. Here are the basics every author should follow when marketing their book..."

Read Jerry's tips on marketing at Shameless Promoter.

Guest Post: Publishing is Changing - by Jerry D. Simmons

Publishing is Changing - by Jerry D. Simmons

Traditional publishing has always centered on print, with audio and foreign rights secondary revenue streams. The focus of the biggest publishing companies was on the printed book. Lists of titles were sold seasonally to an established distribution channel of booksellers via wholesalers, jobbers, retailers and eventually online stores. Manuscripts were scrutinized and only the very best were placed under contract. Discounts were standard, the rules of the game established, and everyone was making money.

Once print-on-demand technology was introduced as a way for publishers to reduce waste and streamline distribution everything begin to change. Publishers who feared losing the bookstore experience rejected the single copy print to customer demand and continued along their merry way, business as usual. Not to be deterred, the POD folks opened up their own publishing shops, accepting the written word of anyone willing to pay their price for services such as cover design and printing. The market exploded and suddenly everyone had a book.

However the marketplace that was nurtured and developed by the big six in New York decided to solidify their strangle hold on booksellers by subsidizing shelf space and retail placement. Through an assortment of discounts, fees and incentives, publishers and booksellers agreed to prevent the wide scale penetration of the "other POD publishers" by labeling everything rolling off those presses as substandard and of poor written and production quality. The strategy has worked.

Consumers today have a strong negative opinion of a self-published book, especially those that look and feel inferior to what they find in bookstores. POD printers understood their business model had to revolve around the upfront pricing instead of actual copy sales since they lacked direct sales and distribution a result of the rejection of the traditional marketplace. This decision strengthened the notion of inferior quality writing and played into the hands of the big New York publishers, eventually the marketplace was protected.

Today the self-published book is making a debut in a completely new format completely hidden behind the reputable imprint of experienced professional publishers. Booksellers are openly accepting these titles due to the fact that each one is vetted and proven to be of high quality in both the written word and production. Now through the advance of the digital delivery system, self-published books utilizing this exciting new concept is finding their work can be competitive on bookstore shelves with any published title.

As the book publishing business continues to evolve the key component for all authors in the future is control, ownership and rights over their content. Big traditionally publishers are resistant simply because their investment in each book must mean the forfeiture of an author's right to that content. Otherwise, they will go out of business. Nowhere is this fact more dramatic than the contracts that bind all authors to the large POD printers.

It is unbelievable to me that the mass produced, low production standards of some companies include retention of all files created for a paying customer, forever. Why would any writer who has invested heavily in their written word be willing to agree to such terms of publication? Unless the answer is price! The Wal-Mart mentality may work wonders for household products, groceries and paper goods, but not for books.

If you are shopping for a publisher for your manuscript, I strongly recommend you submit to the INDI Publishing Group. It's the model of publishing that will be the future of the written word.

~Jerry D. Simmons began his career in publishing at Random House in 1977, then later moved to The Time Warner Book Group where he spent over twenty years, later retiring as Vice President Director Field Sales. Jerry is now the publisher of INDI Publishing Group. www.WritersReaders.com.

Making the Right Editing Match

Here's another great article, printed here with permission and recently featured in my good friend and publishing expert Jerry D. Simmons' newsletter, which you can subscribe to at www.writersreaders.com.

Making the Right Editing Match - By Barbara McNichol

Setting out to find the right editor for your manuscript puts you on the road to feeling confident you’ve got a good match. You want to feel comfortable that your editor understands what you’ve set out to accomplish so you can “polish” it together.

Look for a reputable editor who understands the type of book you have written. For example, if your book is business or self-help, choose an editor experienced in editing these genres. Ensure that the editor you chose has worked with both traditional and self-published books over a number of years. That person’s website should reveal that information and project a professional image. After all, you want your writing to reflect a professionalism that comes from expert editing.

To help in your search for find the right match, use this checklist of questions to prepare you for questions a good editor could ask in the qualifying process.

Checklist of Questions to Ask

Your answers to these questions give a professional editor a better understanding of your project and help you both make a match in heaven. How would you answer these?

· Who is in your book’s target audience (demographics, age group, position, industry, region, etc.)?

· What genre or market niche does your book fall in? What section would it be found in a bookstore?

· What is your expected editorial timeline (e.g., when did you promise to give it to an agent or designer, or have it ready for a conference, etc.) allowing time for your review, peer reviews, and a professional editor’s review?

· How much of your book is written? Have you finished all the content you want including front and back matter (e.g., foreword, testimonials, acknowledgments, dedication, footnotes, resource list, glossary, appendix, etc.)? If your answer is not 100%, what is missing? When would you be ready to send your complete content?

· What is the current length of your book before editing? (number of pages and/or number of words in an MS Word document)

· What is the anticipated total length, including front and back matter?

· If you want to have a foreword, have you asked someone to write it and provided a deadline for delivering it?

· How much are you expecting to spend on having your book professionally edited (excluding proofreading after the design)?

· What else do should the editor know about your expectations so he or she can do a really good job for you?

An editor who asks these types of questions shows eagerness to understand your project and set up a discussion that gives you a sense of how you’d work together.

Here’s a key question: “Is the manuscript 100% content-complete?” If you answer “yes,” you can expect a project price and an estimated timeline from an experienced editor. If it’s “no,” your manuscript is likely a candidate for a Manuscript Review. This analysis evaluates the ideas and wording to provide direction for changes you’d make before it’s deemed content-complete.

The All-Important Sample Edit

How do you start to find the right editor for your manuscript? First, ask your writer and designer friends for recommendations, check acknowledgments in books you like and contact the editor listed, and search the Internet for editors in your genre. Then request a Sample Edit of your own work—especially if more than one editor is in the running for your business.

If an editor works magic on your writing but you don’t agree with the approach or the kinds of changes made, it’s good to discuss them up front so you both can adjust. Some authors (mostly new ones) fall in love with every word and find it painful to see their prose change. That’s why discussions help a lot.

Here’s a rule of thumb when reviewing the Sample Edit: If you, the writer, can clearly see an improvement from the editor’s work, if you recognize that the words flow better and your writing has more clarity and pizzazz, that’s a green light. If you don’t agree with the changes or find yourself arguing with them, that’s an amber light. Time to talk.

Yes, locating an editor who’s the right match for you requires effort to make sure you’re comfortable with the editor’s approach. Ultimately, you want your editor to be the advocate of those you want to reach—the pro who makes it easier for your readers to connect with you and your message.

Barbara McNichol edits articles, book proposals, and manuscripts. Request a free questionnaire “Getting to the Results You Want” based on the ideas in this article via email at editor@barbaramcnichol.com or contact Barbara at 887-696-4899 (toll free). To help you perfect your writing, sign up for Word Tripper of the Week, a free ezine at http://www.barbaramcnichol.com/.

To subscribe to Jerry D. Simmons' Tips for Writers from the Publishing Insider newsletter, visit http://www.writersreaders.com/.

Self-Publishing Tips from an Independent Bookstore Owner

Here's an informative article I found on Jerry D. Simmons' wonderful newsletter--TIPS for WRITERS from the PUBLISHING INSIDER...

Self-Publishing Tips - by Josie Leavitt posted in Publishers Weekly (Excerpts from the article)

As the owner of an independent bookstore, I get approached at least twice a week by self-published authors asking me to sell their books. The world of self-published books has changed a great deal since we've been open. The quality is vastly improved -- even Kinko's can produce a handsome book. The challenge becomes how to distinguish your book from the multitude we see a year.

I've amassed a list of what I'd like to see happen to make this growing area of bookselling as beneficial as possible for both parties. I've had some great success with self-published books. So if you're an author, don't despair, you can almost always get your book on the shelf. One thing I've changed is that now I'll take one copy of any self-published book on consignment. This involves no risk on my part and it allows your book to spend some time on the shelf. Just know that shelf space is at a premium. If after three months, the book hasn't sold, it may wind up in the back room until there's more room on the shelf.

One cardinal rule: if you want me to carry your book and you live locally, you should make an effort to shop at my store.

Do: Make your book look as professional as possible. Don't: Have a spiral wire binding (unless it's a church cookbook), laminated pages or folders.

Do: Send an email with details about your book. I love emails; I can't misplace them and I can quickly refer to it when I need to. And they give me an easy way to contact you. Don't: Come to the store unannounced and expect me to drop what I'm doing to review your book. There's nothing that puts me off more than this. Respect my time and I'll be much more disposed to look favorably on your book.

Do: Call to follow up on the email you sent. This reminds to review the email if I've missed it. Don't: Be hurt if I don't remember your book right away. We see lots of books. My lack of memory means nothing, other than I just don't remember. It's not a condemnation of your book.

Do: Try to leave a reader's copy if you want me to carry a novel. I do try to read them and if I like the book, I'll happily take several copies. Don't: Get mad at me for asking for a copy to read. I know it's expensive to have extra books; if you can't have a copy for me to read, then maybe an excerpt would be good. I can't just have things on the shelf I know nothing about. So give me so info that can help me sell your book.

Do: Try to price your book within the market ranges. I know picture books can be expensive to print, but a $25 paperback picture book will be hard to sell. Don't: Not listen to your local bookseller's advice. No one knows the market better than your local indie. Listen to their hesitations about carrying the book. See what you can do to modify the price. We had one self-published book that was really overpriced; we recommended a different printer and she got a much better price. As a consequence of the lower price we were really able to sell the book. I think by the time the print run ran out, we'd sold over 200.

Do: Think regionally. You're much more likely to get your book placed if it's got something to do local region. We've had good results with a book about boxers in Vermont. Don't: Expect a Vermont bookstore to carry a book about California ponies.

Do: Have an invoice for consignment available when you want me to carry your book. In a perfect world, I would have my own form, but sometimes we run out, and it's really helpful if you can keep track of the paperwork. Don't: Expect me to buy three copies of your book. It's not personal; it's business. Better to have the book on the shelf than not at all. We sold thirty copies of a Chapbook on consignment and it worked out well.

Do: Tell your friends and the press (if you live locally) that your book is available at my store. Don't: Not tell me if you're going to be featured in the local paper. Nothing is more frustrating than getting caught by surprise by not having a book on hand that's been featured in the paper.

On the whole, the future looks bright for self-published books. With the increase in quality, the stigma of self-publishing is going away. Remember to make your book look as professional as possible and be patient. We want you to succeed and nothing is more exciting than seeing a self-published book take off.

(This article was printed here with permission from the author, Jerry D. Simmons and WritersReaders.com

Jerry D. Simmons, publisher at INDI Publishing Group, discusses publishing options

A NEW OPTION FOR SELF-PUBLISHING
By Jerry D. Simmons

There are few choices when it comes to self-publishing, or what I like to call independent publishing. Unfortunately the terminology for publishing a book by yourself has a negative stigma which resulted from the flood of poorly written, unedited books that are mass produced each year. Any writer who invested in a professional edit for their manuscript typically had few options to publish, until now. With the launch of the INDI Publishing Group, the publishing landscape has changed.

The most common self-publishing companies are large assembly line, cookie cutter producers that are nothing more than printers posing as publishers. They are inexpensive and fast, which supports the business model of “publish anything.” These printer/publishers make money when the author signs their contract, not when books are sold. These people lack publishing experience and aren’t concerned with what happens after the book rolls off the press. The books they publish rarely follow book industry standards and are not allowed access to the shelves of booksellers in the U.S., for good reason. With these printer/publishers the author gets exactly what they pay for, a finished book, produced quickly, cheaply, and unacceptable in the marketplace.

The previously viable option to avoid unscrupulous “publishers” and manage the treacherous waters of independent publishing on your own was to start your own company or work with a variety of freelancers who could turn your manuscript into a finished book. The problem with wanting to self-publish without professional help results in books that are far from market- ready and unacceptable to consumers as well as booksellers. Dealing with people who speak the 'publishing language' is confusing. A writer often ends up with poor results.

Starting your own company or working with freelancers are acceptable forms of publishing your book, as long as you understand the limitations that accompany being published with the printing businesses, or working on your own without professional assistance. I‘m a strong advocate for publishing according to the writer's personal goals. If an author has hopes of selling a few thousand copies and catching the attention of an agent or editor, they will be disappointed with a 300-page trade paperback book that retails for $27.95.

The new INDI Publishing Group takes the combined publishing experience of a group of free- lance professionals and offers the writer a better option than the assembly line, carbon copy printer/publishers of the past, or venturing off on your own without experienced guidance. We offer writers an opportunity to invest in themselves and their manuscript by publishing under the INDI BEST imprint which follows book industry standards and provides access to booksellers around the country.

This group provides the author step-by-step assistance for publishing a professional book that can be sold and distributed through existing channels to booksellers across the country. If your hope is to invest in yourself and your writing to get results in publishing opportunities where anything can happen, then you owe it to yourself to explore the option of the INDI Publishing Group.

For more information, email Jerry D. Simmons jerry@writersreaders.com.

In the News: Self-Publishing success stories

Big Houses Benefit from Savvy Self-Publishers by Rachel Deahl -- Publishers Weekly

Every so often a self-publishing Cinderella story makes headlines. In 2003 it was a home-schooled 20-year-old, Christopher Paolini, who sold his first novel about a dragon to Knopf, and in 2006 Kathleen McGowan got a seven-figure deal from S&S for her Da Vinci Code–esque Mary Magdalene series. And in the coming months, look for more self-publishing success stories, as the big houses get behind several writers who took the DIY route. So, are publishers becoming more open to self-published authors, or are self-published authors becoming savvier publishers?

This month, two originally self-published titles are making headlines. The Shack—William P. Young's feel-good Christian novel that sold more than a million copies before Hachette signed on to copublish it—debuted in its trade edition at No. 1 on the New York Times list on June 8. And, at the end of the month, Morrow will look for similar numbers for The Lace Reader; the imprint paid author Brunonia Barry more than $2 million in a two-book deal and printed 200,000 copies of her debut.

Ben Sevier, a senior editor at Dutton, has noticed that more self-published books are gaining traction. Sevier, who said he's “always looked skeptically on [self-published] submissions,” is singing a different tune these days. Right before BEA, he preempted a self-published techno-thriller called Daemon by a software consultant using the pen name Leinad Zeraus. Sevier signed Zeraus, aka Daniel Suarez, to a two-book deal for what's rumored to be a hefty sum. Sevier, who was immediately taken with the manuscript—he said it “took me two chapters to think I was reading the best high-tech thriller writer since Michael Crichton”—said the experience has been eye-opening: “It proves that great books are slipping through the cracks.”

Great manuscripts aside, Suarez and Barry had more going for them than strong prose. Both had managed to sell more than 1,000 copies on their own; Suarez also got press in Wired and blurbs from Sillicon Alley heavies like Craig Newmark (founder of Craigslist) and Stewart Brand (creator of The Whole Earth Catalog).

Clare Ferraro at Viking signed neuroscientist and stroke survivor Jill Bolte Taylor, who became an Internet sensation after a snippet of a talk she gave at the TED (Technology, Entertainment, Design) conference went viral. Taylor had sold nearly 8,000 copies of her clinical survival memoir, which she self-published through Lulu. My Stroke of Insight—which Viking crashed for a May release to coincide with Taylor's Oprah spot—was, Ferraro said, driven by the author's platform more than anything else. “If Jill hadn't had a book, I would have been no less interested in her.”

Agent David Fugate, of LaunchBooks in San Diego, inked a deal for retired professor Dennis Fried largely on the author's impressive self-publishing record. Although Fugate said he found Fried's Memoirs of a Papillon immediately touching and amusing—the book is purportedly the memoir of the author's pooch, Genevieve—he thinks it was the fact that the book had sold 20,000 copies that spurred Simon Spotlight Entertainment to acquire it. The book, due out in hardcover in 2009 as When I Want Your Opinion I'll Bark, benefited from what Fugate calls the “more democratic process” of publishing that exists today. Fugate explained that, with promotion being easier because of the Internet and printing more manageable because of online vanity presses and POD houses, an author can now “prove [his] worth.”

Nonetheless, Fugate warns it isn't easy. He estimates that most editors don't want to hear about a self-published title unless its sales are significant. “Three thousand to 4,000 seems to be the point at which they start to think, okay, this is something valuable.”

Reprinted with permission from Jerry D. Simmons' newsletter TIPS for WRITERS. See: www.WritersReaders.com.

~Cheryl Kaye Tardif, author of Whale Song

http://www.cherylktardif.com/

Want to review books for WritersReaders.com?

Do you like to read? Want some free books in exchange for writing a review?

WritersReaders.com is looking for people who love reading to review the stacks of books that are pouring in to a new book review program.

If you enjoy reading, don't mind getting a free book (or 2...or 5) and like to write reviews, then this is for you!

From the newsletter TIPS for WRITERS:

We have tons of books and not enough readers to review them...if you know someone that would love to read and review books please send them my way. It’s easy, they can pick what they want, there is no timeline, the book is free, all we need are interested readers. Your help is appreciated.

For more information, please contact Jerry D. Simmons.

~Cheryl Kaye Tardif,
Canadian suspense author