Publishers know profit, but haven’t tapped best seller lists

Posted by John Brown on April 19th, 2014

In The Business Rusch: Generational Divide Kris Rusch points out that the new on-demand and long-tail market for books has changed the duration of the opportunity a book has to be successful, but that it seems the industry still isn’t recognizing this in how they measure success.

The problems come from the fact that those of us who run things—people in our forties, fifties, and sixties—use metrics that were developed by our parents for their world, that tightly controlled Mad Men world where everyone was expected to be the same, not just in what they wore or bought but in what they listened to or watched or read as well.

The bestseller list?

It measures velocity. (A good essay on this topic, “The Meaningless Metrics of Fame,”  came from Mike Briggs, husband of Patricia Briggs, earlier this week. I’ve also dealt with it.)

Reviews?

They only want new books, and then only at the time of release.

Brick and mortar bookstores?

They only have room for the latest releases, and then only the ones that are the most popular with their customers (whoever those folks might be).

Books have come late to this fight. Books have been available on demand for only about four years now, in the U.S. In other countries, there’s been even less time.

And we’re all still fighting over meaningless metrics, to use Mike Briggs’ term, because those metrics only measure things that were important around the water cooler, not things which are important now.

What’s important now?

She goes on to say:

The publishing industry isn’t even talking about new metrics. That idea hasn’t occurred to traditional publishing, and indie (or self) published writers are constantly seeking validation from the old system—trying to figure out ways to game the bestseller lists or to get a fantastic review from somewhere that has old-world prestige . . . But at some point, traditional publishers are going to have to develop new ways to figure out which products sell well and which ones don’t. All of their systems—from sales figures (which measure books shipped not books sold) to bestseller lists to critical acclaim—are based on the old models.

Kris is a very experienced with publishing, but her last point conflates internal accounting with marketing. Publishers DO know which products sell.

The primary measure of success in a financial enterprise s not new. It’s been around for 100′s of years. And on demand and long-tail markets don’t change it.

The measure is how much a product or service contributes in profit to the bottom line. You take revenues, minus expenses, and that’s the contribution that product (a book in this instance) makes to your total profit. Or to covering your fixed costs.

Booksellers have measured the success of their books with actual or estimated profits for quite some time. Publishers already know which books sell well and which don’t. No accountant in the world is going to report books shipped as the measure of success. And they don’t. The very fact that publishers have a profit and loss statement and show returns on royalty statements demonstrate that. They look very closely at actual and estimated profits. And to they do this by channel, which is reflected in a small way when they break out ebooks on royalty reports. This is all basic accounting.

Here’s an example. Until Ender’s Game the movie, Ender’s Game the book hadn’t appeared on any best seller list since it was first released. And its release was 30 years ago! Yet over the years Tom Doherty touted its sales numbers many times. Tom knew that book was gold. Of course, he did. Because he doesn’t use best seller lists to tell him what’s selling well. He knows those lists are marketing devices. He has the real data in house. Why would he need a list to tell him anything?

And Tom isn’t going to use books shipped either. Tor may report those numbers to Publishers Weekly for marketing purposes, but he will always multiply that number by an expected return rate to estimate sales. He wants to do that. Because books shipped is meaningless to the bottom line and everyone knows it, including the auditors.

Publishers are well aware of the long tail. They see it with books that have been rotated out of the brick and mortar channels but are still selling in the online ones. They report it in their annual statements. They know the online channels work differently from the brick & mortar ones.

The measure of success is still the same as it ever was—how much profit is this property contributing to our bottom line?

Marketing, however, is a whole other ball of wax.

What the long tail and on-demand allow are marketing campaigns that are impossible in the brick & mortar channel. In brick & mortar you have a limited time to advertise (roughly 8-15 weeks). After that period, most books are rotated out of the store. This means that any marketing for those brick & mortar buyers MUST coincide with the period when the books are in the stores.

But the online channels open up all sorts of other opportunities. You can market forever. And the contribution margin is always positive. The online and POD costs are easily recouped with each sale. (Publishers are well aware of this profit potential; this is why we have so many making grabs for backlists.)

And I see publishers taking advantage of these new marketing methods. This last week I saw publisher books not currently stocked by brick & mortar retailers on BookBub, BargainBooksy, and Book Sends. And the industry isn’t totally focused on new books for reviews. I just had a large newspaper agree to look at my book that was published four months ago. Still, Rusch is right when she says that the publishers haven’t adapted one of their biggest marketing tools to take advantage of the new opportunities–they haven’t done anything with the best seller lists.

Amazon has lead the way in creating new ways of marketing books to different types of readers with their best seller lists. These lists create the excitement of discovery.

But every one else is still reporting weekly sales on the big lists.

If I were a publisher, I’d be asking USA Today to provide more than just the weekly view of the top 150 books. And USA Today is THE list to watch because their numbers are not based on units shipped to a sample of stores, but actual sales. Here are some lists that readers would be interested in.

  1. Most anticipated this week: based on pre-order totals
  2. Most anticipated this month: based on pre-order totals
  3. Hot new releases: based on weekly numbers
  4. Hot new releases for the month: based on monthly numbers
  5. Books with legs: last 3 months; I know it needs a different name (grin)
  6. Best sellers of the last 12 months: annual total of units sold
  7. Best sellers of the last 18 months: total units
  8. Contenders: for each of the lists above show the next 150 books (I always want to see the next 100 books after the top 100 on Amazon’s lists; why not show readers the top 300?)
  9. Movers: for each of the lists above show those that have the biggest rise in percentage sales and meet some unit minimum (you don’t want to feature books with 2,000% increase because they went from selling 1 unit to 20), even if they don’t break the best seller lists
  10. Genre: allow all of this to be sliced by genre.

Let the reader select the view they want to see!

Avid readers will gravitate towards the shorter time periods. Those that read fewer books will gravitate towards the longer periods. Everyone who wants to discover something new will go to the contender and mover lists.

This is about marketing. Not publishers measuring success.

And then armed with those numbers guess what the publishers will do? They will go back to the brick & mortar venues and pitch to have some of these same books carried in the stores for the first time (some publisher books are printed digital first) or carried again.

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Posted in Blather, On Writing

Awakening by Christy Dorrity

Posted by John Brown on April 14th, 2014

Art is a huge part of what draws me to science fiction and fantasy. I still have the Hildebrant LOTR calendars I got back in the early eighties.

On the web you can browse awesome work on DeviantArt.com and CGHub.com. But something that’s been around for much longer is Spectrum: The Best in Contemporary Fantastic Art. It’s an art annual released each year that highlights the best art produced that year in Fantasy, Science Fiction, Horror, and the Surreal.

This year will mark the 21st year of publication.  Spectrum has become the broadest distributed art annual in the world. Having art included in Spectrum is top honors for artists around the globe.

So why am I telling you this?

Well, Devon Dorrity, the guy who helped me pull together my covers,  not only had his sculpture “Queen of the Seas” included in a past annual, but he’s just won a spot in this year’s annual with the cover he created for his wife’s book, Awakening. It’s a big honor.

Here’s the description of how he put it together.

For the book cover for Awakening by Christy Dorrity, Devon Dorrity selected the cover model, Shelbilee Lee, from hundreds of local models.  Jason Morrison, a photographer friend, was hired to do the photoshoot.  Devon purchased the wig, fingernails, and props from Amazon. Then Dennis Dorrity, Devon’s brother, did an illustration of the photo selected from the photoshoot.  Devon then composited the illustration and the photo together blending the two to emphasize the best of both pieces.  After applying various effects and custom color, the piece was finished.

After the book’s publication, Devon submitted the cover to Spectrum with Dennis Dorrity listed as the Artist.  Dennis did the illustration that plays such a heavy role in the finished piece.  Devon was listed as the Art Director/Designer.  Spectrum announced in the end of March that the Awakening book cover was selected for inclusion in The annual.  Spectrum 21 will be released in November 2014.

Awakening: Book One of The Geis is itself a clean young adult fantasy filled with Celtic mythology, magic, romance, and mystery. And it’s been getting great reviews.

“Dorrity invites her readers to a céilí that will quicken the pulse of anyone with Ireland in their blood! AWAKENING will draw you deep into the mysteries of the Celtic worldview—and leave you wanting more of McKayla and her fascinating Aunt Avril!”
- KERSTEN HAMILTON, author of Tyger Tyger and the Goblin Wars books

“I thoroughly enjoyed AWAKENING, a captivating and unique debut novel that creatively integrates Irish dance.”
- CHRIS NAISH, Riverdance member and Creative Director of Fusion Fighters Irish dancers.

5 Stars! “AWAKENING is an exciting mashup of fantasy, action-adventure, and mystery, with a touch of romance thrown in for good measure.”
- KATE MCCURRY, top 100 Amazon reviewer

How many authors do you know who have unlocked the achievement of having someone from Riverdance plug your book? Awakening right now is free. If you like YA fantasy with a bit of romance, this is the perfect time to give this new author a go.


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Binge read

Posted by John Brown on April 14th, 2014

“When you are really and seriously stuck and you hate everything you’ve written, BINGE READ.”

That’s from super author Maya Lassiter. If you recall, she did a great guest post here on her creative process. I love this technique for getting unstuck. When you binge read (or watch), not only do you see other options that you might take and adapt for your purposes, but those other options also spark whole new ideas.

I just used this with the battle I’m writing for Curse. I wasn’t to the hate stage; I actually liked what I had. But I didn’t quite know how to get it to where I wanted it to be. So I decided to read some books by one of the masters of historical battle.

I binge read and listened.

And enjoyed the heck out of both the reading and the ideas I gleaned for my sequence.

Binge read.

It’s an awesome creative technique.

Posted in On Writing

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Curse update: April 12, 2014

Posted by John Brown on April 12th, 2014

CurseV2FinalV1I have finished the rewrite of act 3.

In my last update, I said that I’d written almost 50k words, but Word was counting everything in the document I was working in. I really only had 36k words at that time. The material now totals 50,000 words.  A pretty hefty chunk that I’ve broken into eleven chapters.

If you recall my process, I’m basically at the end of step 7. Next week I will start my line edits. The week after that I hope to make the copy edits. I know I’ll do those more quickly than I did it the last time because Geoffery Kidd wrote me back in December and shared a wonderful way to quickly find typos and unclosed quotes that should help speed the process this time. His tips won’t take care of everything, of course, but every bit counts. Once I complete the copy edits, we’ll be almost to the finish line.


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Murder, Courts, and Bart D. Ehrman

Posted by John Brown on April 6th, 2014

I’m going to talk a bit about some murderers in Detroit, Jesus, and a couple of books I recently read that I think are just awesome.

MURDER

Highers BrothersSo, the murderers.

Let me start by asking this question: can you establish the truth in a court of law?

Is that what the judge and jury are deciding? The Truth, with a capital T?

Think about Tommy and Ray Highers, brothers from Detroit. They were convicted of murder. Open and shut case. No parole. They were two nasty buggers who shot a man down over some dope.

But then twenty-five years later (last year, in fact) they were back in court because new evidence had come to light that undermined the original conviction. For the curious, this awesome Dateline episode reveals the amazing way the evidence came to light and what happened because of it: http://www.nbcnews.com/dateline/full-episode-graduation-night-n72666. Watch it. You’ll be happy you did.

So the Truth. Capital T. Can you establish that in a court of law?

No.

What the justice system does is try to determine which story about the evidence available is the most convincing.

It’s about telling and judging stories.

There are many types of evidence folks use when telling their stories. Some of it is very strong. Some is so unreliable, like hunches and hearsay, that the court won’t even allow it to be presented.

Whatever the evidence, the fundamental nature of this is that you can often tell a number of different stories using the same set of data, the same evidence. Sometimes the stories are variations with minor differences. Sometimes the stories are radically different.

It’s like having only some of the pieces of a 100 piece puzzle. You look at the four, twenty, or thirty pieces you have and imagine what the rest of the puzzle looks like. And then you invent something that seems reasonable.

You invent it.

And if that story meets certain standards of proof, then our system allows the authorities to take certain actions. If the standard of a “reasonable suspicion” is met, it allows a police officer to stop someone. If the standard of “probable cause” is met, a higher standard than reasonable suspicion, an officer can arrest you. If a jury in a criminal case decides the defendant is guilty “beyond a reasonable doubt,” an even higher standard of proof, then the justice system authorizes the authorities to sentence the defendant.

But at no time does the system seek to establish the absolute truth, the truth with a capital T. It only seeks to establish some level of probability that the story being told about the evidence is true.

All of this is made more complex because what’s “reasonable” is based on other people’s opinion. We have guidelines and rules to help folks be “reasonable.” But reasonableness is still affected by culture, background, history, etc.

It’s still opinion.

OTHER PUZZLES

What other realm of knowledge works like the justice system and consists of inventing stories about missing parts of the puzzle?

Well, history does.

In fact, if you think about it, history is what courts do. The processes and principles of our justice system guide everyone involved in how they go about telling the stories that make up that specific type of history.

And all historians (lawyers, judges, and juries included) have no means of establishing the absolute truth.

They can’t use science. Science requires you conduct experiments and reproduce results. But how is a historian going to reproduce the same events? What, they’re going to get Lincoln shot all over again and let the rest of us watch it? Dang, John Wilkes Booth did shoot the man. We all saw it happen down in the lab.

Sure, they can use science to date a manuscript, or determine what something is made of, or establish some other fact. But all science is doing is providing facts about the pieces of the puzzle you have. About the claims the evidence makes.

But science can’t fill in the missing pieces of the puzzle. It can’t tell the story. The historian has to invent the story that makes the pieces all make sense.

And then the rest of us determine if that story, that sketch of the full puzzle, is reasonable.

But that isn’t all there is to it.

STANDARDS OF PROOF

Think about conspiracy theories like the ones that claim that the US government perpetrated the 9/11 bombings. Conspiracy theorists are practicing history. They are inventing a story that seems to fit the evidence available to them.

But what happens when you have only five or ten pieces of a 1,000 piece puzzle? What happens when you don’t thoroughly vet the evidence? What happens when someone screws around with the evidence? And I’m not just talking about tampering or invalidating it by thoughtless handling (contaminating DNA, for example). Folks with the best intentions have biases. In fact, we all have biases that lead us to include and exclude various pieces of evidence based on whether they support or oppose the ideas we want to believe.

Jonathan Haidt explains these biases in his excellent book The Righteous Mind. He explains that with things we want to believe, we often use the standard of “Can I Believe It”?  We look for anything at all that would allow us to believe our position. If we find it, even if it’s flimsy, we discount all the other evidence that may point another way and conclude we have met the burden of proof for our view.

For things that we don’t want to believe, we often use the standard of “Must I Believe It”? When falling prey to this bias, we look for anything at all that would undermine the thing we don’t want to believe, even if that evidence is flimsy. If we find it, we ignore all the other evidence, even if there’s a mountain of it pointing another way, and claim we have met the necessary burden of proof.

In court there are all sorts of procedures and standards that need to be followed to help us avoid invalidating evidence or falling prey to our biases. Those procedures and standards don’t remove all risk. But they do remove a lot.

Which court system would you want to be processed through? The current American justice system or the medieval witch trials?

Oh, for sure I’d want to be someone accused of witchcraft back when a claim of “I saw her as a witch in my dream” was admissible, as was the test of poking a mole on the accused’s body with a needle to see if said witch flinched enough. I’d be so happy to go back to the days when a confession obtained by torture was incontrovertible evidence.

So when practicing history, it’s important to have some guidelines, some rules to establish which bits of evidence are more likely (not guaranteed, but more likely) to be reliable. And it’s important that when folks tell their story, they not only share the evidence, but also all the assumptions they’re making.

JESUS

Where does Jesus of Nazareth come into all of this?

Misquoting Jesus by Bart D Ehrman

Well, Jesus has affected the world more than any other person who has lived on it. The stories we tell about him (the history we have practiced about him for the last 2,000+ years) have changed the world. And those stories will continue to affect us, especially folks in Western cultures, on everything from foreign policy to which clothes think are fit to be worn in public.

Who was Jesus? Did he really exist? Was he a god? What did he really teach? Have his teachings been changed?

These are all fundamental questions. And for the last two-hundred years historians have been re-examining the pieces of the puzzle, finding new pieces, and telling new stories to explain it all.

Some of these historians believe in Jesus as a god. Some don’t. Either way, the conversation is fascinating.

Jesus Interrupted  Bart D Ehrman

I just read three historical books about Jesus that were awesome. AWESOME. Not because I agreed with all of the author’s conclusions, i.e. his stories. I don’t. But because of the way he practiced his history. The way he told his stories. And because what he shared gave me new insights to my stories about Jesus.

The three books, all by Bart D. Ehrman, a professor of religious studies at the University of North Carolina, Chapel Hill, are:

  1. Misquoting Jesus: The Story Behind Who Changed the Bible and Why
  2. Jesus Interrupted: Revealing the Hidden Contradictions in the Bible (And Why We Don’t Know About Them)
  3. Did Jesus Exist? The Historical Argument for Jesus of Nazareth

I’ve read the Bible many times, and I’m a believer. Of course, the question is a believer in which story?

Did Jesus Exist Bart D Ehrman

What Ehrman so engagingly makes clear is that there have indeed been many stories about Jesus. In fact, the gospels (Matthew, Mark, Luke, and John) and the writings of Paul (most of the rest of the New Testament) seem to all portray a different man and message. Not only do they say things that flat out contradict each other on some details, but if you look at each book separately, each author seems to have a slightly different take on Jesus.

Furthermore, it appears that what we now have has changed over time. For example, it seems the last twelve verses of Mark were not in the oldest manuscripts. There have been other changes. One of the more notable ones occurs in John 5:7-8.

Our earliest texts say:

“For there are three that bear record, the spirit, and the water, and the blood: and these three agree in one.”

But later texts say:

“For there are three that bear record in heaven, the Father, the Word, and the Holy Ghost: and these three are one. And there are three that bear witness in earth, the spirit, and the water, and the blood: and these three agree in one.”

Nowhere else in the New Testament do we have anything that states that creedal doctrine so explicitly. Did John write that? Or was the extra material added to make the idea of the trinity scriptural?

And what do we make of the fact that we have no manuscript that dates to anywhere close to when Jesus lived? We have some small fragments of manuscripts with a few verses of John, Revelation, and Matthew dated around 150 AD. But the oldest manuscripts we have that contain the majority of any of the gospels are for the gospels of Luke and John, and these are dated around 200 AD. The oldest manuscripts with the full New Testament are dated around 350 AD.

That’s more than 300 years after Jesus died!

Have you played the game of telephone? Are we sure that the oral traditions that were written down weren’t changed? What happened to the books mentioned in the Bible that we don’t have now? For example, Jude mentions a prophecy of Enoch that we don’t have in our current Bible. Are we sure that the copyists didn’t add to the text like it seems some did to John?

And what about the term “Christ”? It’s actually the Greek word for “messiah” which just means one anointed with oil to perform a special service for god. Christ wasn’t Jesus’s last name. It was a title: Jesus the anointed one.

The anointed ones in those days were kings and prophets and priests. It appears most of the historical sources suggest that a “messiah” to the Jews of that time was someone who would throw off foreign rule and establish the kingdom of Israel as David had. In fact, there were a whole bunch of people who claimed to be messiahs. Here’s a nice list: http://en.wikipedia.org/wiki/Jewish_Messiah_claimants.

Judas Maccabeus was considered a messiah because he threw off Greek rule in 164 BC. But then around 63 BC Israel was taken over by Rome. And Rome wasn’t too keen on revolts, so around 4 BC they crucified Judas the Galilean for claiming to be the messiah, the king of the Jews. Crucifixion, it seems, was the punishment reserved for seditionists. They crucified Jesus and a whole bunch of other guys claiming to be the king of the Jews. And their crimes were written on a board above them, which is why they hung the words “King of the Jews” over Jesus’s head on the cross. Here’s the criminal, and here’s his crime. These other messiahs were not claiming to be a god that came to earth to atone for sins, but anointed by God to throw off foreign rule and establish his earthly kingdom again.

Jesus talks a lot about the kingdom of God. Was Jesus just another one of the seditionists?

Ehrman examines these and many other questions as a historian, providing all sorts of insights.

But the fabulous thing is that he doesn’t just tell his story. He gives his evidence. Exposes his assumptions. And in all three books he explains the guidelines or “rules” historians use to when trying to determine which stories are more likely and which evidence is more reliable.

I was enlightened, challenged, and delighted. I learned things about Jesus’s life and times that have helped me understand what I read in the Bible better.

LIMITS

Of course, the historical method has its limits.

Historians, because they are looking for explanations (stories) that are more probable, automatically select against things that are improbable. They exclude miracles. They exclude any story that says Christ was actually resurrected.  They may establish that a lot of folks thought he was resurrected, but they don’t have any methods to establish something like a resurrection actually occurred. And so they ignore it. Historians exclude modern revelation. If someone today were to have a visitation from Jesus as Paul did, the historians would exclude that.

But we all know that truth is sometimes stranger than fiction. We all know that sometimes the less likely thing is exactly what occurred.

Historians are looking for what is most probable. Not what actually happened. Because they can’t go back and time and verify their story.

Excluding “improbable” things changes the types of stories the pieces of the puzzle support. For many of us, me included, we do accept evidences many historians don’t as pieces of the puzzle. And because we have these pieces, we’re able to tell different types of stories.

The cool thing about Ehrman is that he explains this. He’s not trying to hide anything. Instead, he’s explaining how to approach the Bible from a historical point of view, and where the principles of the historical method lead him.

And I have found that those methods in his hands have a lot to offer.

If you’re someone who is interested in religion–as a believer, agonistic, or atheist–you will love these books. Ehrman himself was once an ardent believer, but is now agnostic. However, his respect for believers, including other scholars in his field who believe in the divine Jesus, comes through loud and clear. Ehrman has no axe to grind. He is simply sharing the stories of Jesus that make sense to him and many other historians. And he does it in a very interesting and easy-to-read style.

If these books sound like something you want to try, I’d start with Misquoting Jesus, move to Jesus Interrupted, and then finish with Did Jesus Exist? And if you enjoy those, let me recommend two more of Ehrman’s books. The first is The Lost Gospel of Judas Iscariot: A New Look at Betrayer and Betrayed, which looks at the discovery and content of a very ancient manuscript that calls itself The Gospel of Judas. The second is Lost Christianities: The Battles for Scripture and the Faiths We Never Knew, which explores the variety of Christian faiths that existed in the few hundred years after Jesus’s death.

Happy reading!


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My working process

Posted by John Brown on April 4th, 2014

Because I get questions about how I work, whether I outline, etc., and to satisfy the curiosity of those waiting for Curse about what I’m doing right now, I’ve decided to share my working process.

I use five types of documents in Word to write my books.

1. Pre-draft documents
2. Working outline
3. Chapter development docs
4. Manuscript drafts
5. Book

I then import the book into InDesign to create the ebook and POD versions.

THE PROCESS

1. PRE-DRAFT

I start developing and collecting ideas for character, setting, problem, plot, and sometimes even text. This includes brainstorms, zings, setting sketches, character sketches, scene or dialog snippets, plot sketches, photos, maps, story setup statements or problem statements, etc.  I’ll often have separate pre-draft documents for character, setting, problem, and plot. Or it might be one big document. At some point all of that electricity has built to the point where the story starts to buck and kick in my hands. When I start to see scenes rolling out in front of me, I know it’s time to create the outline.

2. WORKING OUTLINE

Looking at my pre-draft material, I create a sequenced list of the events or scenes in the story. Sometimes I’ll describe an event with just one line, sometimes I’ll describe it with more. These events or scenes often match up to individual chapters, but they often change as I go because the outline changes as I work. This outline is usually 4-12 pages long.

I usually have more detail about the first parts of the book when I start than I do the last parts. But even if some parts are sketchy, I usually have at least a line for each of the big events all the way to the end. When I start drafting (steps 3 and 4) and moving through the book, the details for those later parts begin to fill in. Again, it’s a “working” outline so things change.

3. CHAPTER DEV DOCS

When I finish the working outline to my satisfaction and start chomping at the bit to write, it’s time to start drafting. I open a new chapter development doc for the first event on the outline and copy/paste the event’s material from the outline into it.

I do some sketching if necessary (see my posts on scene primers) in the new document. Then I begin to write with the outline material and scene sketch as a guide.

If I run out of steam, or the take of the scene doesn’t work, I do another take. I just stop, create a new heading titled “Take 2″ or 3 or 4 (whatever the take is), and start again. I may brainstorm as well in this document and do other pre-draft work that has finally presented itself to me to be done. There have been a couple of times that I’ve had to do 20+ takes to get a take that works. Most of the time I need 1-3 takes. Using Word navigation view I can see in the sidebar all the takes etc.

The nice thing about these chapter development documents is that they’re working documents. I can be messy.

4. MANUSCRIPT

When I’ve gotten a good take of the scene, I paste that take into my manuscript document which contains all the final takes from the chapter development documents. This is “draft 1″ of the manuscript. Usually each scene/event becomes a chapter, although I might split it if it goes long, or combine it with others if it’s short.

5. REPEAT UNTIL DONE

I repeat steps 3 and 4 until I’m done with the book. Using Word navigation I can see all the chapters in the sidebar.

6. CHAPTER REVIEW

Before I print the manuscript for the cold read, I will review the chapter breaks one more time based on what I feel is right for the length, the right effect, especially at the ending and beginning of the chapter, and what I think goes together.

7. DRAFT VERSIONS

After cold reading and marking up the printed form of draft 1, I copy the manuscript file and replace the suffix “draft 1″ with “draft 2″, then make the edits for the cold read in draft 2.

Then I send draft 2 out to my beta readers. When the manuscripts and comments come back, I copy draft 2 and change the suffix to “draft 3″ and make the beta reader edits in draft 3.

I do this for as many drafts as I go through, including those for the copy edits.

8. BOOK

When I’m done with drafting, I copy the final draft and replace the draft suffix with “book”. Then I add front matter and back matter (title page, copyright page, teaser, map, author’s note, table of contents, etc.) in preparation for importing into InDesign to create the ebook and POD (print-on-demand) versions.

9. POD

I create an InDesign document, import the Word book, then save it with the suffix “POD”. Next I finalize the interior formatting for printing. There’s quite a bit that goes into this with chapter breaks, widows, and orphans, breaks, etc. When that’s done, I upload it to CreateSpace and then print off the proof they provide.  By now the cover is finished as well.

10. PROOF READ

I read the POD proof to catch any last errors and make the appropriate updates to both the Word book and the InDesign POD document.

11. EBOOK

I copy the POD InDesign document and replace “POD” with “EBOOK”. I then add the appropriate changes (links etc.) to the front and back matter for the ebook. Next I export the InDesign document as an EPUB. I have to use Calibre Book Editor to edit a number of things in the EPUB. When that’s done I open the EPUB with the Kindle Previewer to create the MOBI version (Kindle file).

12. PUBLISH

The next step is the easiest–click a few buttons to upload the final version of the POD and ebooks to the various online retail venues. I go direct with Amazon, CreateSpace, NookPress, and Kobo. I use Draft2Digital for iTunes and Smashwords for all the rest. 

Posted in On Writing