Sandy Henry

   w/Author/Speaker Sandy Henry

              

         

Welcome to the debut issue of the Write What You Love and Get Published Newsletter!

I have been extremely fortunate to write the types of books that I love, in various genres, and still enjoy publishing success.  I find that when I am moved to write something, whether it's a humor essay, short story, historical book, poem or children's picture book, I have greater success marketing the manuscript than if I try to fit my style into a submissions request ("Write the Scariest Halloween Story and Win a Million $!") or jump on board the bandwagon of whatever is popular in the publishing world (chick lit, fantasy).  

Instead, I write whatever inspires me, then I try to find the best market for it.  It has worked well for me, and I have been published in the books displayed above.  (The top three books were books I wrote solo, and the others were books to which I am a contributor.)  These books were all published within the last two years, with "traditional" royalty-paying publishers and [mine] WITHOUT A LITERARY AGENT.  In this premiere edition of Write What You Love and Get Published, I will share with you some insights on how I did it, and how you can do it, too.

When I initially sought a publisher for my first novel, Something Borrowed, Something Blue, I was completely clueless.  I had no familiarity with self-publishing, had never heard the terms "Print on Demand" or "book returnability."  However, I invested several months researching traditional publishing, agents, POD and self-publishing options and became educated enough to trust my instincts, quit my cushy corporate job and jump into the unknown . . .

Having worked with agents in the past (as a screenwriter), I knew that finding new representation for my mystery novel could take many months, possibly even years.  So I attended a self-publishing lecture at our local Barnes and Noble store.  I learned that self-publishing a book could cost anywhere from $8000 to $40,000!  Since my nest egg from my corporate job was closer to the low end of that range, I knew I couldn't go that route and still commit my full time work hours to finishing and polishing my novel.  Not if I wanted to pay my bills and keep my two large dogs in kibble anyway.

And even though I'll confess to being a bit of a control freak, the idea of commissioning the bindery, printer, graphic artist for the cover, warehouse and distributor sounded completely overwhelming.  And boring.  I knew there had to be a better way for me to get my romantic thriller, Something Borrowed, Something Blue, into the hands of readers.

So I continued with my research and learned about Print on Demand technology.  I studied every article I could find about POD publishing, ordered copies of POD books, emailed authors to inquire about their experience, contacted publishers and conducted investigations into these companies.  It was easy to do a google search by typing the name of the publisher with "BEWARE" into the search box, a process that narrowed the field considerably.  A large number of these companies had dozens, often hundreds of complaints against them, as well as a few lawsuits.  But I didn't get discouraged.  I just took my time and continued to find the right match for my book with a reputable publisher.

After many months of research (while still finishing and polishing my manuscript), I decided to sign a contract with Llumina Press in December 2003.  Llumina is a Print on Demand publisher, which means that I paid them a small fee (under $1000) to manufacture my book and essentially handle the parts of the project that didn't interest me at all.  This included assigning a graphic artist to help me design my cover, printing the book and making it available for purchase via major distributors Ingram and Baker & Taylor. They set up my title with all the online vendors like amazon, Barnes & Noble, Target and Books-a-Million.  In essence, they took my several hundred-page manuscript and turned it into this book:   

   Now some might scoff or dispute the merits of POD and self-published books.  I will concede that there is still a bit of a "stigma" about the legitimacy of these forms of publishing and that in my research, I have come across a lot of these books which are poorly written and barely edited. But I also learned that more often than not, the bulk of the snobbery came from other writers.  How a book is published didn't matter at all to the reader/book-buying customer, and it was hardly ever an issue with bookstore managers, writing contests or anyone else I encountered.

And for me, choosing a POD publisher for my first book worked just as I'd hoped it would and led to publishing contracts with traditional publishers.  Also, Llumina paid me royalties every month, as opposed to twice/year like the big publishing houses (didn't know that?  Me neither!).  Further, Llumina is one of the few POD companies who makes their books returnable (a topic I will discuss in depth in the next issue).  That's a huge factor with marketing any book, a fact I might not have learned had I not had the POD experience the first time around. 

Below is a quick reference article I wrote called Top Ten Reasons to Consider POD Publishing.  And I've followed up that tip sheet with a feature that ran in the November 2004 e-writer magazine.  It offers insights about my experiences in publishing my first book.  And it is my hope that I can save other writers some time and frustration in their own search for a publisher.  I also plan to create an e-book that will expand this brief article and will cover areas like To Agent or Not To Agent, Self-Publishing, Print On Demand and Traditional Publishing and After Your Book's Release.

Please feel free to contact me if you have any questions at sandyhenrywrites@aol.com.  And good luck!

Top Ten Reasons to Consider POD Publishing

by Sandy Henry

 

1)      Print on Demand technology enables you to get your book to press quickly and efficiently.

2)     Print on Demand gives you, the author, greater control over your project.

3)     Print on Demand is a cost-effective publishing option (generally under $1,000).  Self-publishing can cost between $8,000 and $40,000!

4)     Print on Demand companies pay royalties like traditional publishers, often bi-monthly or quarterly, rather than 2 times per year.

5)     Many Print on Demand companies now offer book returnability, which is critical if you wish to compete with the big publishing houses and see your book on the shelves of bookstores.

6)     Using a Print on Demand publisher forces you, the author, to become more savvy and educated about book marketing and promotion, which you will basically be doing yourself.  But it can be a bonus, rather than a drawback.  If you work with a traditional publisher later, you will be a valuable partner in the marketing of your book.

7)     Having a successful Print on Demand title with a solid track record (2,000 or more copies sold)  can be a benefit in securing agent representation or a traditional publisher for future works.

8)     Print on Demand publishers don’t require that an author submit their manuscript through a literary agent.

9)     Print on Demand companies frequently offer many of the same services provided by the larger traditional houses (albeit at additional cost), including preparation of media kit components like press releases and sell sheets and promotion of your book at large trade shows and book fairs.

10)  Print on Demand companies do just that . . . they print books when the order is placed.  This can be a benefit to the casual writer who only wants a dozen or so copies of their books for gifts.  It eliminates the need for warehousing and large print runs.  And it can offer someone wishing to publish a personal story or noncommercial  project the means to take their idea from pipedream to publication.

 

 

How to Get Your POD Book Onto Bookstore Shelves 

 

by Sandy Henry                                         

 

So, you’ve written what you believe is a tight, compelling book.  And you’ve spent months researching publishers, none of whom seem to beating down your door at the moment. But you’re hopeful—a “glass is half full” kind of person, right?  Finally, after careful consideration, you choose to publish your book with a Print On Demand company.  The publisher sets up your title with distributors like Ingram, Books in Print and Baker & Taylor.  So now your friends and family, proud to see your name on the cover (and secretly hoping to be named in the Acknowledgments) can order it.  Now what?  How do you get your POD book, more than likely a 6” x 9” trade paperback, onto the shelves of bookstores, large and small?

 

Consider the following suggestions, which I implemented while marketing my first novel, a romantic thriller entitled Something Borrowed, Something Blue (Llumina Press, June 2004).  These are just a few ideas, but they should send you well on your way to increasing your success with the big bookstores, as well as the independents, known as “brick and mortars.”

 

Make sure that your book, be it fiction, non-fiction or poetry, is eye-catching.  Some POD companies will limit the author’s involvement in the publishing process.  But my publisher encourages author input on the book’s overall design.  If your title is a thriller, make sure that it LOOKS thrilling.  I find that lots of black and a little blood helps to sell mysteries.  But you decide what works best for your title. 

 

Also, if your publisher permits, consider the price that your book will retail for in the stores.  You may not have any input, but it is a relevant consideration.  The dimensions of the book and the page count influence the price of a trade paperback.  And bookstore managers and shoppers alike will only allow a certain degree of latitude when taking a chance on a new author.  In addition, draft your own compelling synopsis for the back cover.  No matter what type of book you’re marketing, know that every reader and potential customer will flip it over to read the back cover text. 

 

Okay, here’s one for your highlighter.  Any book, especially one written by a new, untested author, should be RETURNABLE.  This is a factor that any author should consider, especially if their book is self-published or Print On Demand.  Now I recognize that most customers don’t even realize that a book may be returned for a refund.  But the returnability is really for the bookstore’s protection.  A bookstore manager is much more willing to take a chance on an untested author if they know they won’t be stuck with 25 copies of that book if it doesn’t sell. 

 

My publisher is one of the few PODs who offers book returnability, which I paid for as a service much like insurance.  And unlike straight self-publishing, which can be very costly (often ranging from $8000-$40,000), POD is a viable, more affordable alternative.  So don’t scrimp on the returnability.  It truly is the key to getting your book onto the shelves of bookstores and other book retailers.  Should you need additional confirmation and insight, you might wish to visit your local Barnes & Noble or Borders.  The Community Relations Manager can be a very helpful resource both before and after your book is released.  So again, no matter how you choose to scrimp, save and trim costs, don’t cut corners here.  Returnability is key.

 

Next, create a professional, eye-catching media kit.  If this type of writing (press releases, sell sheets, author Q&As) is not something you’re comfortable with, then you can commission the publisher or a public relations rep to do it for you.  I chose to learn how to do everything that was writing-related for myself.  I drafted my own press release and sell sheet, but I did utilize the publisher’s graphics department for things like bookmarks, posters, business cards and the like. However, writers are creative types, so if you are skilled with computer graphics or have a friend who can create professional looking marketing tools for you, then go for it.  It’s a terrific opportunity to sock away some money for your book returnability—which, again, I equate to “insurance.”

 

To make a good media kit, start with a nice folder.  For less than $1.00, I found some terrific glossy cardstock folders at the office supply store that accommodate an Acco prong fastener to hold three hole-punched pages, which I slip into clear plastic sheet protectors.  The folder also has an interior front and back pocket and a Velcro flap closure.  I don’t mean to bore you with this simplistic information, but you cannot imagine how enthusiastic bookstore managers get about this folder!  And they always assume that I’ve spent big bucks on my press kit.  However, I estimate that each one costs me between $1.50 and $2.00. 

 

For my kits, I slip a cover letter with my homemade stationery (paste your book’s cool cover design at the top) into the front pocket, personalized to the bookstore manager.  And make sure your contact info—phone number, fax number, website address—is visible.  Apparently they receive lots of media kits that are missing this important information.  Oh, and make it neat.  One manager of a very busy Los Angeles bookstore told me that he receives materials which are handwritten, torn and have smeared food and coffee spills on them! 

 

In the back pocket, I enclose some flyers and promotional materials, like bookmarks to be left at the register.  My flyers have a picture of my cover, a brief synopsis, a few glowing reader reviews in 4-5 word sound byte form (“A White-Knuckle Mystery,” “Something Borrowed, Something Blue—Something Great!”) and a list of where the book may be purchased. 

 

Also include an author bio and a Q&A.  I admit to having been unfamiliar with this tool, which is basically an interview with questions like, “So what is Something Borrowed, Something Blue about?”  Then you compose a brief, articulate answer.  It was bizarre and surreal at first, as I was basically interviewing myself.  But since that time I have had several interviews printed in the newspaper and online. So they have now become part of my kit.  Also, I don’t generally include a copy of my book with my kit unless I absolutely feel that I must.  Instead, I print out key chapters from my final proof and enclose an excerpt instead.  This has worked well, and it saves me the cost of parting with a bound book.

 

In addition, you should use whatever leverage you can to build a successful marketing campaign.  I focused first on word-of-mouth.  I have friends and family all over the country, and a few scattered in other parts of the world.  They bought my book right away.  Then I directed my attention to my online business.  I figured that once I’d set up my book page at amazon, barnesandnoble.com, Books-a-Million, Borders and Target, the online sales would work for me while I focused on other areas of promotion.  I quickly received reader reviews from the online sales, which I typed up and included in my media kit.  I became savvy about things like sales rankings, and mentioned my strong stats when talking to booksellers either on the phone or in person.  Every step led to another, and my dance card filled up quickly with book signings and “author chats.”

 

Finally, be prepared for resistance, and don’t take it personally.  And if you have to, donate a copy of your book, where possible.  If a bookstore manager is still unconvinced after you’ve explained that your book is returnable, ask if an excerpt (cheaper than providing a galley or bound book) would assuage his/her fears.  Many print on demand books are poorly written and poorly edited—thus, many of the managers’ concerns and reservations are well-founded.  Show him/her that your book is well written and carefully edited, and you’ll get that booking.  I have.  And so far, no bookstore has asked me to bring my own books for a signing.  Once they see the book, the media kit, the returnability (which I now tout in red at the top of my sell sheet) and my dogged persistence, they cave!  Give it a try and see for yourself.

 

 

Sandy Henry enjoys hearing from other writers and is committed to helping them to understand all of their publishing options.  She is the author of one POD thriller, Something Borrowed, Something Blue (Llumina Press, June 2004).  Her next  book, A Child’s Bedtime Companion, is slated for a holiday release by Ambassador Books.  Sandy is a recent contributor to Francine Silverman’s Book Marketing From A to Z (Infinity Publishing), and she is also a featured author in Changing Course, the new collection of inspirational essays by bestselling author Yitta Halberstam.  This anthology is a follow-up to the successful Small Miracles series and includes essays and comments from such notables as Betty Rollin, Anne Lamott, Joyce Maynard and Oprah Winfrey.  Additional information is available at http://www.sandyhenry.com.

 

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Ask Sandy:

 

Q:  I am a new author, and my new book will be released next week!  I've already received requests from family and friends for autographed copies.  But which page do I sign?  Do you just write your name?  Or do you come up with something catchy?  Help!

     D. in California

 

A:  Congrats, D, on your new book!  This is a very exciting time for you, and it's great that you have the support of family and friends.  When you sign their copies of your book, you sign on the Title page.  In the event that there are two Title pages, you sign the one that displays your name and publisher's logo under the title. 

 

As for what to write, I try to keep it short if I am signing more than just my name and the date.  You'll see for yourself that things can get pretty crazy when you've got a line of people in front of your booksigning table (a good thing!).  And greeting the customer, smiling, asking their name (and confirming its spelling) are the most important elements in your "goodwill mission."  You want to make a lasting impression and forge a relationship, so they'll remember you and your future books.  Also, it makes things less chaotic if you can come up with something short and sweet to write on the Title page. 

 

My mystery, Something Borrowed, Something Blue, is about haunting dreams.  So I often write "dare to dream..." or "follow your dreams," along with my signature and date (optional).  But for my newest title, Carnegie, I simply sign, "Best, Sandy Henry," along with the date.  Celebrity chef/author Rachael Ray scribbles "YUM!" in her books, and she writes it big and proud, like a 3rd grader!  So give it a little thought and see what works best for you.  Writers are creative people, and there is more freedom of expression with your autograph than you might think.  Most of all, have fun!

 

         Write the Caption Contest

    

 

My new book, Carnegie, is comprised of 200 historical

photographs and captions, so it's a natural for me to run

another Write the Caption Contest!

 

Can you write a compelling caption for this photograph?

Of course, it's a great shot of The Apprentice star, Donald

Trump, along with Rascal ("The World's Ugliest Dog!")

and his owner/handler/buddy, Dane Andrew (who shared

this adorable photo!).

 

Submit your entries to me by email @ sandyhenrywrites@aol.com

between July 10-August 31, 2006.  The top four captions will be posted

here, so give it a try, garner some free publicity and win one of

several great prizes (average prize value $25)

 

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Word Scramble

 

Unscramble these words associated with BOOKS!

 

YILRRAB

 

STUD KJETAC

 

LIZPRUTE ZIPRE

 

GAPUHOTRA

 

KAPPRBEAC

 

 

 

The Write What You Love and Get Published Newsletter is packed with helpful tips for writers.  To sign up, just send an email to: sandyhenrywrites@aol.com, and I'll be sure to share some of the quirky things that I've learned about publishing that no one tells you!

 

For instance, what is an amazon sales ranking and what does it mean to your life?

 

Where do you get Autographed Copy labels to dress up your book cover?  (That's a no-brainer!  Click here)

 

What is the difference between Self-Publishing, Vanity Publishing and Print on Demand?

 

What is book returnability?  And who in the world would return a "used" book?

 

Sign up today!