by john | Oct 18, 2017 | Appearances, Business of publishing, How to Sell Books, Travel
Last time I talked about Industry Cons, like World Fantasy Con, World Horror Con, RWA Nationals, and other pro-centric cons. The greatest benefit of these cons is often the networking, as they are light on fan attendees and heavy on pros. They can be a great place to make or renew relationships, to meet people who can have a real impact on your career long-term, but you should never go into a conversation with someone just thinking about what they can do for you. That’s not networking, that’s being an asshole. Real networking, the kind that will actually do something for you, is relationship-building, making friends, being genuinely interested in what people are saying and doing, because people are generally pretty interesting. You will get more out of the favor you do for someone else than you ever will from asking for a favor. So just go hang out with people, meet them, and be nice. That will come back to you in spades over the long haul.
But this isn’t a blog post about networking, it’s a blog post about fandom cons. What I refer to as fandom cons are the heart and soul of science fiction and fantasy cons all over the US and the world. These are the small to mid=size cons that aren’t run by some giant media or entertainment company. They are cons with anywhere from 200 to 5,000 people in attendance, and they are generally non-profit organizations run by volunteers, or sometimes a very tiny paid staff. Usually people are paid in badges, hugs, and pizza.
These are honestly my favorite type of convention to attend, because they press a lot of buttons for me as far as things I enjoy doing. Fandom cons usually have a fair amount of programming, from panels and games to discussions and workshops. Being a pompous ass that I am, I love being on panels. When I’m feeling gracious about myself, which is most of the time, I tell myself and the world that I enjoy panels because it gives me the opportunity to pontificate and scratches the itch that I had when I used to want to be a teacher.
Don’t worry, I got over that one when I realized that my reflexive response to stupid statements by people in authority is to say “Go Fuck Yourself” loudly and often. I decided that reflex wasn’t conducive to a long teaching career, so I should either learn to shut my cake hole or look for a new career path. I chose to not shut my cake hole. Pretty much ever.
But anyway, fandom cons. They have a bunch of panels, and usually a dealer room or author’s alley, or some other opportunity for me to set up a table and sell books. So I get to sit on panels with people who are much smarter than me, make a few dick jokes, and then sell books after. Or maybe I get on a panel with people where I make valid points about the at hand and participate in a lively discussion. Or dick jokes. Either way.
Why do you want to be on panels? Shouldn’t you just rent a table in the dealer hall and sell books all day, every day? Well…remember Uncle John’s First Rule of Sales? Of course you don’t, because I almost never refer to myself as Uncle John (although I am an uncle, have been for 40 years at this point, and I have a lot of grey in my beard, so I may just begin referring to myself as such) and I’ve never codified this idea into a “rule,” at least not in writing.
Uncle John’s First Rule of Sales – People buy shit from people they like.
I know. Rocket science, right? Well, that’s why this is all free, and real sales courses cost a fuckton of money. I just realized that I swear more in blogs that I write while listening to Jason Isbell. He’s a goddamn genius, and frequently Wendig-level profane.
But the point of this is – if you’re on panels, you get to show off your sparkling personality o everyone in the room, and you get to show off what a smart writerly motherfucker you are. Don’t spend too much time talking about your book, though. That looks dickish, and like you’re just there to sell shit. You kinda are, but you are also there to answer the questions the moderator and audience bring to you. So unless your book really relates to the question, don’t mention it.
So yes, you want to get on panels. You want to get on panels, and be witty, or funny, or brilliant, or charming, or dazzling, or professional, or whatever pieces of all of those that make up your shtick. Then at the end of the panel, remind the audience that you have a table in the dealer room, or you have books in your briefcase, or you’re doing the Broad Universe reading at 7PM, or whatever. Give them a reminder to come see you, and to bring money when they do.
Fandom cons are also great places to make solid connections with people way up the food chain from you. Typically a small (500-3,000 attendees) will have 1-2 “name” guests, who get their hotel and travel paid for. These folks are usually award winners, best sellers, legends in the field, or all of the above. I’ve done very small conventions with Guests of Honor such as Rachel Caine, Joe Haldeman, Timothy Zahn, Ben Bova, Patrick Rothfuss, and many more. The size of the event and the fact that you’re there as a guest as well gives you a level of access that may be greater than most folk. And some folks just like hanging out. I sat in the bar listening to Joe Haldeman tell stories for several hours one night. I’d never met him before, and I was just an attendee at the con. I bought my badge just like every one else. George R.R. Martin is well-known as a lover of room parties, and a few years ago at ConCarolinas GRRM was in one room talking to fans at a room party, and in the room next door David Weber was chatting with fans at a different room party!
This does not happen as often at huge cons. It’s just harder to find folks. But that, as well as the ability to hang out with people in the bar or restaurant and get to know them, can create long-lasting friendships. There’s a group of 40 or so writers that endured what we often refer to as SweatFest, the year the FandomFest AC broke in Louisville, Kentucky in July. It was godawful. It was the hottest thing I think I’ve ever put up with. But I met some people that I have done business with ever since, and some of them are my dearest friends. Those kind of stories are why we do the fandom cons. They become a badge of honor, and a shorthand that people use to refer to events, and the relationships forged while sitting at a table next to someone in a deserted dealer room may not pay your hotel bill for the weekend, but you can certainly make some lifelong friends.
Just a few people that I met for the first time at Fandom cons –
Faith Hunter, Misty Massey, Emily Lavin Leverett, Sarah Joy Adams, Gail Z. Martin, David B. Coe, A.G. Carpenter, Nicole Givens Kurtz, Allan Gilbreath, Andrea Judy, Bobby Nash, Edmund Schubert, Natania Barron, Michael G. Williams, Tally Johnson, S.H. Roddey, Alexandra Christian, Kalayna Price, Rachel Caine, Laura Anne Gilman, Seanan McGuire, Brandon Sanderson, Patrick Rothfuss, Mike Stackpole, Eric Flint, Dr. Jerry Pournelle, Larry Niven, Timothy Zahn, Barbara Hambly, john Scalzi, Robin Hobb, Ernie Cline, Jim C. Hines, Cat Rambo, Kimberly Richardson, and the list goes on for hours. Some of these people I’ve hung out with, some I’ve published, some have edited with me, some have edited me, some have bought my books, some have sold me books, but every one of them I first met at a little fandom con.
That’s why I go to fandom cons. Because I meet amazing people.
by john | Jun 13, 2017 | Business of publishing, How to Sell Books
I’m going to do something a little different on this week’s blog about selling books, and give y’all a cautionary tale (and maybe some links to more) and some tips on how to avoid getting ripped off by a crooked publisher, or some signs on how to tell that your publisher is in over their head and you might be in for some problems.
This is spawned by the current arrest and charges filed against the owner of JK Publishing in Colorado. According to this article and others I’ve seen, she is accused of defrauding authors of over $125,000 over two years. She ran a small erotica and romance press, and apparently fudged royalty reports to pocket a greater share of the money, leaving her authors screwed. She’s also accused of lying on her taxes to a degree significantly greater than just the garden-variety lying on taxes.
This gives all of us, authors and publishers, a black eye. It makes the whole business look shady. Just like when an NBA ref got caught shaving points it made all referees for all sports look bad. Anything that touches a situation like this comes away dirty. I hope there is a way that the authors can get what was rightfully theirs, but let’s face it, they’re probably screwed.
So what can you do to keep from getting screwed? After all, it’s not like there’s any licensure required to open a small press. All I had to do was file the LLC paperwork, pay the state a couple hundred bucks to incorporate, and away we went.I didn’t take a class. I didn’t get certified as anyone who was qualified to publish books. I just decided to expand my personal publishing efforts to help other people get published, and hopefully make enough to cover costs along the way.
So you can’t examine someone’s license, but you can examine the person. You can examine the contract they are offering. You can examine their website (which you didn’t want to do for the first several months that Falstaff Books existed, because it was hot garbage. Pure 100% dumpster fire. But now we have a wonderful web guru Erin, and she makes us look good.). You can examine the covers on the books they produce. You can look at their sales ranking on Amazon and see if they’re moving any books. You can read reviews of books they publish to see if they are full of typos.
You can also check places like Preditors & Editors and Absolute Write. These are peer-review sites of the most grass-roots. They’re message boards, and places for people to air grievances, but in the case of a very small press, they might not be very useful. So you need to contact a human.
Here’s a case in point. When I signed Michael G. Williams to a couple of contracts, he sent them out to be reviewed by third parties. Michael and I are friends, and have been for several years, and that has nothing to do with the fact that he was 100% right to get the contracts looked at. Darin Kennedy is one of my best friends, and we revised his contract several times before we were both happy with it. It’s not personal, it’s business.
That doesn’t mean be an asshole to your friends because you don’t like the contract, but it also doesn’t mean you should sign a bad contract just because your friend is offering it to you. Or because it’s a friend of a friend. Or whatever. Every contract is a negotiation. Both parties want different things, and the whole point of the contract is to outline everyone’s expectations and get them down on paper, so you can still be friends after you’re finished doing business. So be pleasant, but be firm.
What are some warning signs in contracts?
Well – the contract needs to be very specific about what rights it is asking for. Our contract at Falstaff is for ebook, print, and audio rights. We don’t ask for graphic novel rights, because I don’t have a way to sell them. We only ask for English language rights, but we do ask for worldwide English language rights. I can’t get stuff translated, but we can sell all over the world through the distribution channels we use. We don’t do film or TV rights, because I can’t sell them. If an author sells them, good on them. Hopefully it will sell a lot more books, and we’ll both get paid that way. Other publishers may have better ways to sell those things, so they may ask for those rights. If you don’t want to give them up, negotiate. But it needs to be clear.
When you get paid needs to be very clear. And the first time a publisher is late with a payment, you need to be concerned. We pay quarterly, but I give myself 60 days after the end of the quarter to pay. That means that I’ve paid First Quarter royalties, and we’ll pay Second Quarter royalties sometime in August. I definitely want to get those sent out before Dragon Con, so they money will likely go out mid-month instead of taking the full 60 days to pay people. That also gives me a buffer in case anything gets goofy with the mail or PayPal.
Rights reversion is a big thing, and you want a contract to define what is “out of print.” Technically, ebooks don’t ever go out of print, so you want a rights reversion clause based on sales built into the contract. We didn’t have this in the first Falstaff contract, but our newest version does. We’re learning. As more authors negotiated with us, we realized that it should just go in the contract.
But vetting a small press can be tough, A lot of it eventually is going to come down to trust. Meet people. Talk to people. I prefer to do business with people I know, because I’m old-fashioned and would rather operate on a handshake. I won’t, because I don’t live in that world, but I still like to know the people I work with. You should too. If you want to publish with someone, ask around about them. Dig a little. Somebody knows these people. And it’s entirely possible that the publisher has been great, but shit fell apart and they stole from the business to get themselves by. When that happens, you can’t predict it. But you can be vigilant about it. If you have two years of royalties at one level, then there’s a significant dip the next, ask why. If you’ve released a book that appears to be doing well, but your royalties haven’t increased, ask why.
And if your publisher doesn’t respond, that’s when it’s time to get pushy. I don’t mean respond within an hour, because people do have lives, and there are times you just don’t have reception (like most of last Sunday for me). But within a couple days, certainly. If you ask a money question, and haven’t gotten an answer in a timely fashion, there might be something wrong. People don’t like to talk about money, and they certainly don’t want to talk about bad things having to do with money, but you must keep a handle on your money, because it is your livelihood.
So get your work out there, but don’t get screwed. And it’s a lot harder to screw over somebody once you’ve looked them in the eye than it is someone that you’ve never met or even spoken with before. So meet people, Skype with people, talk to them on the phone. Humanize them, and become a human to them. It’s a strong negotiating method.
Good luck!
by john | May 10, 2017 | Business of publishing, How to Sell Books, Promos/Giveaways, Writing
So you know you need an email list, but you have no idea how to go about building an email list, right? You don’t think you have anything interesting to say, or anything that people will want to hear about. You don’t release a book every month like some crazy bastards you know (BTW, the new Quincy Harker book is out for pre-order, and you should totally do that), you don’t think you lead a terribly interesting life, but this Hartness asshole keeps telling you to build a mailing list. So how are you supposed to do that?
There are a lot of ways to build a mailing list, and we’re going to start with my preferred method. The two styles of mailing list construction are Organic Growth and Incentivized Growth. Organic Growth is slower, much more labor-intensive, and requires writers to do the one thing that many of them hate to do – interact with people.
It’s also the best way to build a mailing list. With organized growth, you are slowly cultivating people who actually want to hear from you. People who have either seen you on a panel, or at a con table, or met you in line at the restroom, or in the bar, or read one of your books, or whatever – they have had some interaction with you or your work and they WANT to know more. Maybe they’re just another writer friend and they want to know when you have something new coming out. Whatever. You don’t care why they want to hear from you, they have interacted with you in some way, and made the decision that they actually want to hear from you.
These are the best mailing list subscribers. They are already predisposed to want to hear from you. They like you, and people buy shit from people the like. They don’t like to be lectured at, they don’t like to be preached at, but they like to laugh, so make people laugh every chance you get. Or cry. People like to cry, too, They don’t, however, like to feel like they are trapped in an elevator with Aunt Marge from the family reunions who always smells a little like pee and wants to pinch you. So don’t be Aunt Marge.
That escalated quickly. Moving back to the point, the people who subscribe organically are more likely to click on a link in your newsletter, and more likely to open the newsletter in the first place.
On the other side of the coin are the Incentivized Subscribers. These are people who want a free ebook, or want to enter to get a free Kindle, or whatever they are getting out of signing up for you list. These folks will have a high number of join and drop folks, and you won’t be able to convert that many of them into real fans and readers. Sorry, it’s just true. You might have 8,000 people on your email list, but if you’re only getting a 10% open rate on your newsletter, then you’re not doing any better than someone with a 2,000-person list and a 50% open rate. So look for quality over quantity, or ideally a mixture of both. Because you do need to be visible, and giveaways and mailing list swaps are good ways to do that, and they are often good ways to increase your mailing list dramatically in a very short time. I’ve added 1,000 people to my mailing list since the beginning of this year, and a lot of that has been off of Incentivized Subscribers. I’ve also had a lot of people drop from my mailing list immediately after downloading their free ebook, so the long-term success of those programs is yet to be determined.
So how do you get the Organic Subscribers? Well, there are a few ways.
If you are self-published, you can put a signup link in the back of all of your ebooks. If you are traditionally published, you can put a link in your author bio and either hope your publisher doesn’t see it, or ask your publisher if it’s okay. If I publish you, it’s fine. I want you to have a million people on your email list, because then we both make more money. This is a passive method that will slowly net some signups.
Please note that all of these organic methods are slow dribbles of signups. They are like putting out dozens of little buckets in a rainstorm. You don’t get very much water in any one bucket, but when you collect everything out of all the buckets, you can fill a bathtub pretty quick. These are your buckets.
Your website is another bucket. You’ll notice there is a link one the right-hand side of the page here with a picture of the High Fashion Hell cover. That’s a signup link for my website. People click on the picture, cover by the lovely Natania Barron, and they are directed to a signup form for my email list. Oh, you don’t have a website? Well, welcome to the late 20th century, you need a website. I suggest it be your name, not any book or series name, because you will have your name longer than you will have any given book series, and you want to remain easy to find online. Same with email addresses – get one that’s just your name, because eventually you will no longer want to be known as Hot2Trot4Cumberbatch420@whateverthefuck.com.
My author page on Facebook has a call to action button, which is another email list signup. That allows people who find me on Facebook to sign up for my emails directly from there. You don’t have an author page yet? Well, better get on that shit. You are a professional, whether you do this for your entire living or not, and you need to be able to use all the tools at your disposal.
I also use Twitter to drive email signups. I’ll get into the scheduled Twitter and Facebook posts in a later article, but suffice to say that at least once per day a message goes out on Facebook and Twitter telling people that I have a mailing list, and that they can get a free ebook if they sign up for it. I don’t get a ton of email signups, I have about 2,500 people on the list, and I add 5-6 per day. So it’s pretty good, and it’s growing nicely, but it’s not yet a huge list by any stretch. And I’m good with that, because it remains the single most effective marketing tool I have (heh heh, I said tool).
So that’s a little bit on organic methods to grow an email list. Next time around, we’ll talk about Incentivized Subscribers, good and bad incentives to build a list, and how to streamline all this shit so you don’t have to babysit it all the time. Until then, if you have any questions, leave them in the comments, and if you love what I’m doing, feel free to subscribe to my email list by clicking the book cover to your right or you can subscribe to my Patreon by clicking the link below. Thanks!
