Sunday, October 19, 2014

Men in skirts ... yeah, baby!

If you know me, and know me well, you would know I'm not much of a feminist. In fact, the best word you could use for me would be 'peoplist'. I think I might start a new movement ...

Anyway, a week or so ago I stumbled across a report about a young transgender student in Brazil who was fined for wearing a skirt to school as she was still 'officially' a boy, and it's been rattling around in my brain ever since.

The nice part about the story is that a whole group of her male classmates came out in support by also wearing skirts to school, which I think is an awesome way to support her not just for wearing a skirt, but as a young transgender person going through what can't be an easy time. You can read more about it here: http://elitedaily.com/news/world/male-students-wear-skirts-support-transgender-classmate-photos/769774/ (The other nice part is that the school wasn't previously aware of her gender identification and they're now revising their Code of Ethics, so it's going to be a win-win all round.)

What I don't get, though, is why boys wearing skirts, dresses and makeup etc, is such a big deal in western society. Trousers (or slacks or pants) have been around in one form or another for possibly more than 3,000 years, but at what point did one part of society decide that they should be a male-specific item and that skirts should be female-specific?

And why is that western women can get away with wearing pants, jeans etc (thanks to high-profile women such as Katherine Hepburn taking the brave steps to making them socially acceptable last century) yet it's still an issue if a male wishes to wear a skirt? Unless of course he's a Scot in a kilt, or a Pacific Islander in a sulu. And why are those men allowed to wear a skirt-type garment without a second glance, when we seem to have such a need to 'label' men like Eddie Izzard who prefer to wear western-female-specific attire, when we didn't need to find a label for Axel Rose when he wore kilts on stage?

As a teenage girl, I felt sorry for the boys at school for two reasons:

  1. When it was really hot, they still had to wear shorts or long pants - they couldn't put on a skirt and let the breeze blow around and keep things cool.
  2. If they weren't the best looking lads in the class, there wasn't much they could do about it. At least we girls could slap on an inch or three of make up, hide the flaws and 'accentuate the positive'.
One of my daughters had a (straight) male friend in high school who came to dinner one evening wearing make up and nail polish. He looked great. I ran into him a year or so later in the supermarket with his girlfriend - both in skirts and tights etc. I have to admit, on both occasions I had to quickly discard my inbuilt prejudices and adapt to what I was seeing, rather than what I was expecting to see. But as soon as I had done that, the question was, why shouldn't he? If I can wear trousers and jeans and my husband's cast-off jumpers, and a tie with a shirt and suit, why can't a bloke wear a skirt or a dress and foundation and mascara without having to feel bad about it? 

Hell, with some of the blokes I know (no offence, lads), it'd be a bloody great improvement!

So I say to hell with gender-assigned dress codes. Men, grab your garb, your mascara, foundation and lippy, and wear it with pride - masculine pride, gay pride, whatever pride you've got! It worked for David Bowie and Marc Bolan, it works for me, and it sure can work for you, too!

Friday, October 10, 2014

Blue Mountains Readers and Writers Forum 2014

A few weeks ago I was thrilled to be contacted by Blue Mountains City Library and invited to sit on a panel on self publishing at the upcoming Readers and Writers Forum 2014.

As part of the preliminary marketing, I was also invited to be interviewed for a podcast on the Library's Listeners in the Mist channel, and that was great fun! If you're interested in our chat, tune in here: http://listenersinthemist.podbean.com/e/jennifer-mosher/

The Readers and Writers Forum will run between 10 am and 3.30 pm on Saturday 25 October 2014, in the Blue Mountains Library, co-located in the Blue Mountains Cultural Centre, 30 Parke Street, Katoomba.

Panels, workshops and local authors will feature throughout the day. We will be having an IndieMosh stand, accompanied by several of our authors, and Megalong Books will be having a stand, too.

For more information, or to download the program, visit:http://www.bluemts.com.au/event.asp?evid=11892

I look forward to seeing you there!

Sunday, August 10, 2014

Ebook pricing: What the ‘big’ publishers don’t seem to understand

For some weeks now the news in the technology and business news pages has featured updates about an argument between online retailer Amazon and Hachette Book Group, a ‘traditional publishing’ house. The fracas seems to be based on Hachette wanting to charge the customer whatever it wants for an ebook, while Amazon is arguing that it is charging too much and sharing too little with its authors.

If you know anything about me and my beliefs, you’ll know I agree with Amazon’s viewpoint. Here’s why …

A little background on royalties and print publishing

Traditionally, in Australia at least, a publishing house would pay a first time author 10% of the cover price (the list price, the RRP) for each print book sold. So a book retailing at $24.95 would earn the author $2.495 every time a copy sold, regardless of how much it sold for.

If the book was a success, then the 10% might be increased on the next print run to 12.5%, then 15%. When the author released their next book, the starting price of 10% might be negotiated to a higher rate, or not. But this is how it used to work, in general.

Somehow, publishing companies were able to make a profit on this print publishing model, although it’s my understanding that many titles would run at a loss or break even, while the few successful titles would subsidise those. So the bottom line is, print publishing has always been a gamble – it’s been about trying to pick the ‘winners’ and hoping the odds would be high enough to cover the losses on the other nags. (Sorry, did I say that out loud?)

And introducing … the ebook!

Over the last 10 years, and basically due to Amazon and their innovative Kindle ebook reading device, the ebook industry has risen up to challenge the concepts of traditional print publishing. Amazon and their KDP (Kindle Direct Publishing) program have opened the doors to publishers, publishing facilitators and self publishers (writers happy to bypass the traditional publishing system), enabling them to sell electronic titles to a worldwide audience. To say this has shaken the publishing industry up would be an understatement. Although you have to give the traditional publishers their due, they’re still hanging onto their traditional models, no matter how outdated they may be!

The hatchet job on Hatchette

From what I can see, it would appear that Hachette Book Group is paying its authors 25% of net revenue on ebook sales (if this article here is correct: http://www.nytimes.com/2014/07/13/technology/amazon-a-friendly-giant-as-long-as-its-fed.html).

Amazon argues that publishers should be paying authors more than 25% of net revenue on ebooks, and I have to agree with this. (See their statement here: http://www.amazon.com/forum/kindle/ref=cm_cd_tfp_ef_tft_tp?_encoding=UTF8&cdForum=Fx1D7SY3BVSESG&cdThread=Tx3J0JKSSUIRCMT&tag=viglink20362-20)

To my mind, for a publisher to take 75% of the net proceeds on sale of an ebook is just plain greedy. Yes, the publisher foots the bill for editing, layout, production and marketing. But if they need to take 75% of net revenue from an ebook to make a profit on development of that book, then why? Did they spend too much on development – editing, layout, cover design? Did they spend too much on marketing? Are they unable to sell enough print copies to cover the cost of creation?

You see, the thing is, selling ebooks is not limited in the same way as selling print books is. You don’t need to foot the upfront costs of printing, packing and shipping to a retailer, then waiting for – or worse still, chasing them for – payment. You don’t need to worry about warehousing unsold stock. You don’t need to try to work out how many to get printed, where to get them printed, the optimum page size to deliver the optimum number of pages. And you don’t need to worry about refunds for returns of unsold books. There is so much time, effort and material resources saved with so few decisions to make.

And then when you ship the print books, unless you have an international reach, you will probably only be able to afford to ship them within your own country. So you have to negotiate to sell the rights to another publisher in another country, for them to organise printing and distribution etc in that country.

When that’s all said and done, let’s say you get 5,000 copies printed. You have to sell those 5,000 copies, to the retailers where the mostly likely people to buy them are likely to see them, to get your money back. What are your chances?

If, on the other hand, you develop an ebook, you can retail that anywhere in the world online. You are not limited to selling 5,000 copies. You might only sell 5 copies, but you also might sell 50,000. Or perhaps 500,000. The population of the USA is currently in excess of 315 million people. Why would you opt to try to sell 5,000 print books if perhaps just 1% of those people (3.15 million) might buy one of your ebooks?

Print publishing is an extremely expensive business. Ebook publishing isn’t. And this is the point Amazon is trying to make. It is unfair and greedy of publishers to charge almost the same for an ebook as they charge for a print book. Unfair to the reader (especially when there is no guarantee that a ‘traditionally’ published book will be a better read than a self published book) and unfair to the author, especially if they only receive 25% of net revenue from the sale of that ebook.

How do ebook royalties on Amazon work?

Let’s put Amazon’s ebook royalty calculations into numbers we can understand – in US dollars.

When you self publish an ebook through Amazon, and you price that ebook at $9.99, you will receive a 70% royalty from most markets. (Some of the newer markets, such as Amazon Japan and India, only reward with a 35% royalty.) So the reader pays $9.99, Amazon keeps $3.00 and you receive $6.99 for every ebook sold.

If your ebook was published via Hachette, and they retail your ebook on Amazon at $14.99, then – on the assumption they are subject to the same royalty conditions as a self publisher – they will receive 35% of the sale price instead of 70%, because they have priced your book in excess of $9.99. So the reader pays $14.99, Amazon keeps $9.7435 and pays Hatchette $5.2465, who in turn pay you 25% of that $5.2465, which is $1.3116.

But if Hatchette were to publish your book at just $9.99, they would receive $6.99, and pay you 25% of that, which is $1.7475.

What are the ‘big publishers’ afraid of?

There is much talk about Amazon’s reach, their potential for a monopoly of the literary market etc. I fail to see how you can have a monopoly when you are enabling so many people and businesses to function.

From where I sit, it’s the other way around. For too many years, traditional publishers had a hold over the literary market. They had a hold over pricing, distribution – and who did and didn’t get published. And they have been slow to acknowledge and adapt to the change that was coming.

Although a retailer, Barnes and Noble were smart – they got in early with development of their Nook ebook reading device. This device uses the same epub format that the iPad uses. But where are the big publishers in this field? Where is the Penguin ereader? The Hachette ereader? They all wanted the distribution, but none of them wanted to invest in their authors or readers, or the future. They’ve happily sat back and let Bezos and Jobs work all that out, and now they’re complaining about Amazon being a ‘monopoly’!

In general, few ebooks should need to cost more than USD$10

I have long held a philosophy that no ebooks, other than those containing the rarest of information, should be priced above $10. With a totally open retail market, a book remotely worth its salt will find its audience, one way or another, in one neck of the woods or another, as time goes by.

To those who say that encouraging lower pricing will discourage people from buying print books, I say, ‘Garbage!’ I know plenty of people who refuse to buy ebooks, who still love the feel of a ‘real’ book in their hands. And there are certain print books I would still buy. But on the whole, for people who just want to devour the words and aren’t particularly fussed about the method of delivery, why should we be expected to subsidise the costs of printing, packing, shipping, warehousing and distributing the print version? If the print version can’t cover its own costs, then should it have been produced in the first place? And – we have no resale value on an ebook. All we are buying is a licence to read. We don’t own the digital file.

And as for authors and ebook royalties, I also believe that 25% of net proceeds is an insult, especially if there is no accompanying print version. If the publisher can’t make a profit on 50% of the net proceeds, then are they taking the right books on?

Tradition sometimes dies

The thing is, the traditional publishing industry needs to change. And they don’t want to. They’re clinging to the past, railing against those who are trying to deliver a better experience to authors and readers, without realising that they are becoming more and more irrelevant.

If they wish to survive, then, like all organisms, they’re going to have to adapt and evolve. Survival of the fittest. The fittest for purpose. Acquisition and growth isn’t going to help. Survival of the biggest does not equate to survival of the fittest. Look what happened to the dinosaurs.

Walking the talk disclaimer

I am the owner of IndieMosh, a self publishing facilitation business for Australians. We assist in the self publishing process, delivering those services for which the author wishes to pay, in exchange for 85% of net royalties. For more information please visit us at www.indiemosh.com.au


Sunday, July 27, 2014

True confessions: My daughter is a pole dancer

My daughter is a pole dancer.

There, I’ve said it. It’s out in the open.

But before you reach for the smelling salts, let me take you out of the 20th century strip club and into the 21st century exercise class. Today’s pole dancing is not about having paper money slipped into tight-fitting clothing by well-meaning strangers. It’s about strength, fitness, and being able to do the Vomitron without, well, vomiting!

Getting into the Vomitron. Best executed on an empty stomach.

I have to admit, my first thoughts were like yours: Where did we go wrong?! But after visiting the Pole Body and Soul Blaxland studio to see Ally’s class perform at the end of their first term (and this is their second, well-equipped studio in the Blue Mountains, the first being in Springwood – who knew?), I realised just what a fantastic activity pole dancing – or pole exercise, if you prefer – is.

First of all, you need strong abs. Really strong abs. And then you need really strong arms – because you have to pull your entire weight up off the floor to hang from an itty bitty pole! By your hands. And then by your crossed over ankles. And then by the crook of your knee. Upside down. Yes – UPSIDE DOWN! Just in case you didn’t get it the first time.

Please don't try this at home.

Now, as a mother, and one who sees the freak accident about to occur when my children are simply walking down the street, watching my geeky, totally non-athletic daughter turn upside down and then hang there – Look Ma, no hands! – was about as much as I could bear. I mean, seriously, what’s wrong with some simple calisthenics? Preferably on the floor.

I grew up that afternoon. I stopped fretting every time she went near the practice pole in our house (yes, we have become those parents). Instead of reaching for cushions from the lounge and spreading them around the floor underneath her, then listening from the next room for the inevitable crash, I learned to trust that my ‘little girl’ (who is actually in her early 20s) wasn’t so little anymore. That she is a lot more physically capable than either of us ever thought. And strong! After attempting to pull myself up onto the pole, just six inches (in Oldspeak) off the ground, I realised that I am not yet ready for my first pole exercise class. Not by a long shot!

Although I could be tempted. Ally tells me that the classes she attends are all female, with ages ranging from 18 to 50 plus, and include singles, marrieds, mothers, homemakers, professionals and business women – not the kind of mix you’d expect. She has found that everyone’s really ‘sisterhood’ and supportive and says that it’s been good for her as a way to meet and make friends with other women in a ‘safe’ environment – and with no judgement on stomach fat or ‘wiggly bits’!

So parents, if your daughter starts talking about going to a pole class, don’t freak out, be proud. Be proud that she cares enough about her body to want to be strong and fit. This is not the sort of class which will get her a job in a red light district. This is the sort of class which will help prevent her succumbing to the side effects of our sedentary 21st century lifestyle. It’s even being touted for inclusion as an Olympic sport!

And once you see what she’s able to achieve in her class, perhaps you might even consider enrolling in one yourself?

I did, but I have a book to read. On the couch …

Sunday, July 13, 2014

Ian Thorpe - time to start living and enjoying it

According to press reports this morning, Ian Thorpe is 'coming out' as gay in an interview with Sir Michael Parkinson, to be aired on Channel 10 this evening, Australian time.

While I'm happy for Thorpey that he's finally managed to come to terms with the idea of not trying to hide it anymore, I'm also angry at him for hiding it for so long. And I've had to work out why I'm angry. Hell, he's nothing to do with me. His sexuality is definitely none of my business and has no impact on my life whatsoever. Yet I feel really irritated that he has:

  1. denied it for so long, and 
  2. made a conscious decision to finally admit to the truth.

And that, ladies and gentleman, was when I realised why I was so cranky about all this. It's that truth thing again. Embrace the truth and it shall set you free. I mean, he's not a mass murderer, he's not an armed robber, he's not a drug dealer, and as far as I know, he hasn't done anything to warrant being charged with any offence that we could condemn him for. He's just gay.

Here's a very short list of gay people who are household names across the world:

  • Sir Elton John (note the knighthood - being gay really held him back, didn't it?)
  • Ellen DeGeneres
  • Sir Ian McKellen (another knight)
  • Stephen Fry (who I am sure will also get a knighthood one day)
  • Martina Navratilova
  • Jodie Foster
  • Ian Roberts (they don't come much tougher than Ian!)

I could keep listing for days - there are so many high profile LGBT people out there in sport, entertainment, business and the world in general. And plenty, plenty more who aren't in the public eye.

So Thorpey should have been on the list years ago.Why did he think he was so special that anyone would give a damn? Seriously Ian? Get over yourself.

But then ...

Speculation on sporting shows this morning suggest that his reticence to be honest about his sexuality may have been due to sponsorship and other commercial deals, that the markets where Thorpey was promoting products wouldn't have been happy to find out that they had a gay man as the face of their products. If that's the case, then where were Ian's closest advisors? Where were the ones he could trust? And who made the most money out of him keeping his mouth shut? I bet it wasn't Ian.

But if it was his choice to keep quiet so that he could make the most of his commercial opportunities, then it's no wonder he suffered from depression. When you can't live your life openly and honestly, you will become depressed, and you will risk turning to alcohol and other suppressants to help you cope. Don't blame the swimming - blame the lying. Putting your bank account before your mental health will nearly always lead to mixed feelings, particularly if, underneath it all, you're basically a 'good' person; and I've always had the feeling that Thorpey is a 'good' person. You never hear of him behaving or speaking the way some of our less mature ambassadors do. But he has certainly been ill-advised in this area.

Ladies and gentlemen, the best gift you can give your children is the ability to embrace the truth at all times. To 'own' the very essence of their beings, their decisions, their mistakes. Yes, there will be the odd occasion in life when we need to be discreet to prevent others from being hurt, but on the whole, living as honestly as we can is the key to good mental health. Keeping quiet about the very essence of ourselves is ridiculous - it's extremely damaging, and the foundation for a fractured and fragile existence.

As most commentators seem to be saying today, it's about time Ian Thorpe came out, and let's hope that his life is happier from now on - he's the sort of bloke that we all want to see happy.

But boy, what a waste of possibly 15 happy years. What could he have achieved had he let himself be free to be who he really is?

Here's hoping this intelligent, attractive, creative, warm-natured, talented and hard-working young man can make up for lost time. Go Thorpey, go!

Saturday, July 5, 2014

Paying it forward

I first heard the expression 'pay it forward' about 20 years ago. Had no idea what it meant at the time, but with a bit of thought I managed to get the general idea. It basically means to perpetuate the good karma, but in one direction, not back the way it came. In other words, you did something nice for me, so I'll do something nice for that bloke over there, he'll do something nice for someone else, and eventually it will come full circle and someone will do something nice for you. And it won't be directly related to what you did for me, but it will be the eventual result of you doing a good deed in the first place.

It's a great concept, really. I've always struggled with that whole 'You did me a favour now I need to do you one or pay you for it somehow' kind of thing. I mean, if someone does you a favour, it's a favour, there shouldn't be any payment or reward. But if you like someone, and appreciate what they did for you, it's quite often very hard to work out a way to show that appreciation appropriately. The value to you may be enormous, whereas it was nothing to them. Conversely, they may have really put themselves out to help, albeit willingly, but the difference to you had they not, might not have been as great.

And then there's always that Mafia concept - some people like to do favours so that they end up 'owning' you. I tend to keep away from that type - for obvious reasons!

But today I want to pay it forward directly. Or pay it back. You see, I had help recently from a fellow business operator and I really feel the need to mention it.

When you're in business for yourself in a small community like ours, it can go one of two ways - you can get on with your fellow businesses, or not. And when those fellow businesses are in the same sort of field you're in, it can get tricky.

I'm lucky. Those that I want to get on with I don't seem to have any problems with, and so it came to pass some weeks ago I needed help accessing data in an old computer program on some old Mac-formatted zip drives.

I had bumped into a small business person reading the paper in his car in the local shopping centre carpark who seemed perfect for the job - his car signage told me so. I introduced myself, told him my problem, and he seemed to think there was a good chance he could help. I didn't quite have my hands on the discs at that stage, so not quite sure what I was facing, but I took his card, and when I knew for sure I needed his help, I called. Straight to voicemail. I left a message. No response. I emailed. I waited. No response.

So then I recalled someone I'd known for some years - Vent Thomas of iVent Services. I gave Vent a call and told him my problem. He told me to drop by when I was next in the area and he would do what he could. And this lovely, giving man did - he managed to access each of the discs and drop the stuff into a readable format onto my USB stick, and now we're able to republish our client's books for him - books which were almost locked away forever on outdated technology.

If someone does me a wrong, I don't go after them - I let karma take care of it. I know that sometimes I will never find out how karma handled it for me, but I trust that it will be done. And conversely, if I can't find an appropriate way to repay a favour, without it looking like I'm trying to 'balance the books', I again trust that karma will take of it.

But this time, I need to pay it forward publicly. While I trust karma to take care of Vent in a good way, I just want to add a little more push, just for insurance, because he's a good bloke and he deserves it.

Thanks Vent!

Friday, June 27, 2014

What's your reason for self publishing?

As a publishing facilitator, I am always fascinated by the different reasons people have for self publishing. I used to think that everyone wanting to publish a book wanted to be a best selling author, but it's nice to see that many of our authors have more realistic expectations, and are self publishing for a much wider range of reasons than to make a motza or to be as famous as JK Rowling.

Sometimes our clients want to publish some family history, partly in honour of their own families, but also to make use of the years of research they have undertaken. And they realise that if their publication can help someone else somewhere else in the world, then it's worth putting it out there. And as most family histories include an element of social history, it's quite often the case that a few sales will take place. (See The Campbelltown Convicts, A Glass Half Full and Old World ... New World.)

 


Then there are those clients who have spent years thinking about something and they really, truly, don't expect to sell, but they just want to get their thoughts down and made available to the public, and if someone, somewhere, is interested in what they have to say and happens to buy a copy ... well, that's just icing on the cake. For them, simply publishing their book is enough. (See What is Your Answer for the Purpose of Your Existence?)

We also have clients who just have to write - they can't help themselves. Selling is great, but it's not the main aim - they have a brain full of scenarios and characters and emotions and events that need to be developed and written about. (See Art and the Drug Addict's Dog and Escarpment: Fibonacci poetry.)
 

And we have clients who have a way of helping other people. Writing a book is not easy, so writing a book which will help people takes real effort and commitment. Again, while these authors are happy to sell, it's just as important to them that they have helped someone. (See Yes! You CAN write your own copy! and You can get through this! How to stay positive when you're coping with breast cancer.)

 

Occasionally we have a client who just needs to create. Not only do they have the text for their book, but they also visualise it - the images, layout etc. So for them, it's not just about the writing, their creativity spreads to the design and layout as well. (See not poems, just words and The High School Survival Guide.)
 

We have an autobiography or three. It takes a lot of gumph to publish a book, so you can quadruple that when you consider publishing your autobiography - it really is like standing naked in front of the whole world! But for some, it's important to record their story in their words, just for the record.(See Loki's Joke, The White Aborigine and Laughter, Tears, Peace.)

  

Then we have the entertainers - the writers who love a good yarn and wish to entertain. They aren't trying to win a Pulitzer, they would rather you take their book on holidays and enjoy a damned fun read. (See Essence of Time, Curve My Song, The Deception Engine and The Empress Holds the Key.)

  
 

This list is just a small sample of the books we have published and I've had to leave a whole load of great titles out - which you can see here on our IndieMosh site - but I've highlighted the books above as they each illustrate a desire other than the basic 'make money, be famous' desire that we think all modern authors have.

Of course, I'm sure none of our authors would argue with finding themselves on the New York Times best sellers list! But when it's not your main motivation for publishing, it makes every sale, every small success, every increase in circulation and reach, just that bit sweeter.

So, what's your reason for self publishing?

Thursday, June 12, 2014

Conair Relaxation Massage Mat - review

I’ve not thought to do a product review before, but for my birthday a few weeks ago, my daughter gave me a Conair Relaxation Massage Mat (or 'matt' as it says on the Big W website) as one of those ‘I don’t know what to buy Mum but this looks like a fun gimmick even if it’s no good’ type presents and it was such a surprisingly good buy for what it is, I figured I should probably share my thoughts.


I do love a good massage, and when I can find the time and make the effort (yes, I know, it’s a real contradiction that I have to make an effort to get a massage!), I usually go to the incredibly strong and intuitive Lyn Midgley.

But I am atrociously lazy about making appointments, so my daughter figured a massage mat might help me get by between ‘real’ massages. And, surprise, surprise, it is helping more than either of us thought possible!

Now, don’t get me wrong. This mat will not replace a pair of real, live (you’d have to hope), trained hands searching for and kneading away your knitted muscle knots. Nothing beats that. And if you have any chronic health problems, it’s not going to cure them. But as a soothing way to relax for half an hour after dinner, I’m finding it a lot more beneficial than I expected.

The mat comes with a control panel that allows you to choose between three different ‘massage’ strengths, four different programs, four different body zones, and a heat option. I’ve used the heat option once, but the mat is so comfortably warm without it, that I’ve not bothered since.

At first, we tried the mat out on the floor, but it makes quite a percussive sound as it rotates through its program, so while we were entertained by the rhythms for the first few minutes … the novelty soon wore off. We have wooden floorboards and the noise, even on top of a rug, was quite noticeable.

However, the box says that you can use the mat on your recliner, so I moved it to my chair (which, luckily for me, just happens to be a recliner), and the noise was somewhat less noticeable – probably due to some sort of audio-physics-type science thingy happening where the sound gets absorbed in the area under the seat. Well, that’s my theory.

So in my chair of an evening, I turn the mat on while I watch the news, and it rotates through its program for half an hour before switching itself off automatically. (I’m sure it only goes for about 28 minutes, though!) As I like a strong massage, I have it on the strongest setting (there are three power levels) and while it’s nothing like having a real massage, it is soothing and the really weird thing is that since I started using it just a couple of weeks ago, my sciatica is suddenly much less noticeable. And this is sciatica that I’ve lived with for more than 20 years, so any improvement is welcome.

The other thing I’ve noticed is that I can sit without putting the massage cycle or the heat setting on, and about an hour later I’m quite toasty warm. If I were sitting in the chair without the mat underneath me, I would have a great deal of trouble achieving the same level of comfort as I am totally unable to generate my own heat. So as a nice winter warmer that doesn’t even need power, this is an added bonus!

Like I said, the Conair Relaxation Massage Mat (available in any colour you like, so long as it's pink!) is not going to compensate for having a proper massage, and it’s not going to cure all your ills, but as a gentle way to warm and soothe you, especially on a winter’s evening after a hard day’s work, it’s certainly worth the few dollars they charge for it at Big W.

(This is an unsolicited review, and I have not been paid for it. I received the mat as a gift and am surprisingly happy with it.)

Friday, April 11, 2014

Tackling the Post-Publication Blues

As a publisher, or rather, a publishing facilitator, there is no thrill greater than handing a first-time author the first proof of their first book. (Yes, I know, there's probably at least one redundant 'first' in there, but I was having too much fun to consider leaving one out!) It's a wonderful moment - a bit like delivering a baby. If all goes well, then it's only a matter of days before that book is then unleashed on the world, along with ebooks, the author's Amazon and Smashwords profiles, and a proliferation of posts from both of us on social media.

Friends and family congratulate, good friends and close family buy, and then ... very little.

Giving birth to your first book is a recipe for post-publication depression. You have spent ages shaping it, crafting it, considering covers and fonts and page colours, all the while answering your friends and family, 'How's the book going?' 'When's the book coming out?' 'How're you going with your bestseller?'

Finally the big day arrives, the announcements are made, there may be a small party (or not, if you read my post on book launches here!), and then when all the hoopla is over, you go home and life returns to normal. Except you're not the immediate bestselling author you hoped to be.

And it is just like having a baby, and not dissimilar to post-natal depression (PND). You're back to your routine life, all the excitement which has been building for months and months is suddenly over, and you're left holding responsibility for something which, no matter how much you tried to anticipate, isn't quite as easy to nurture as you'd expected.

So what do you do? Don't throw yourself off a cliff - your job has only just started!

First, please don't ever expect to be a bestselling author in the first week, month or even year of your first book. Maybe one in 1,000 achieves a modicum of success in the first year with their first book, which means you are probably going to be one of the 999 who don't.

Second, don't give up. It doesn't mean your book is bad (although it very well may be a stinker, but who's going to know until people start reading it), it just means that people don't yet know about it. If you believe in your book, then make sure to keep working to market it - and marketing isn't the same as trying to get sales. Marketing simply means raising awareness. You can do this with targeted Facebook ads, having links to where it can be purchased on your website (I know one author who took something like six months to fix his website up to mention his book!), making sure you enter writing competitions where you can include a reference to your book and your website (shameless self promotion here, see narratorCENTRAL), and do whatever you can to promote the book without forking out large sums of money.

Third, keep writing. One lesson we stress to all our authors is that people don't buy books, they buy authors. There is a reason we have one entire shelf dedicated to John Grisham in our house - my husband buys everything he releases. Yes, from time to time we will buy a book 'on spec', but generally only non fiction. When it comes to fiction, we both have favourite authors and they're the ones we turn to first for our entertainment. I mean, when was the last time you forked out full freight for a movie when you didn't know one single actor in it? Or even the director? My point exactly.

If you want to be a writer, be a writer and write. Write on social media. Write on blogs. Write on websites. Write for others. But write, write and write. And as time passes and you release your next book and your next, your writing will improve, and as people discover each book, they each become a free advertisement for all your other books. Dan Brown is evidence of this - his first three books languished until the release of Da Vinci Code. And he was published traditionally - not self published.

Serve your apprenticeship and the rest will follow. After all, no plumber's apprentice got his ticket after digging just one drain. It takes several years of experience, supervision, and sheer bloody hard work to become a plumber, so why would you expect overnight success as an author?

Sunday, February 23, 2014

The book launch is dead. Long live discoverability

In 'the old days' (think last decade), publishers would organise a book launch to help announce the release of a new book. They would put their marketing campaign into action at the same time, stock the bookshops around the country, and then wait for sales to take off. If sales took off, then more orders would come in, and everyone would be happy. Unfortunately, not every book launched follows that formula!

As a 'publishing facilitator', I meet many first-time writers who are self publishing and who want to have a book launch after publishing their book. My first question is, 'Why?' All I can think about is the horror of the planning, the invites, the catering, the entertainment ... the list goes on. And for what purpose? You are unlikely to sell enough books to cover the cost of the launch, so why would you bother?

I once read a column by Mark Dapin about how he managed to sell 42 copies of his new book at his book launch, but six of them were to the same man who happened to spill a glass of red wine on them. So in essence, he sold 36 books at his launch - and Dapin is someone with a profile! With all due respect (or none at all): how many books do you think you're likely to sell at your book launch?

These days, a big push into marketing your book on release isn't so important. What is important, however, is releasing a book which will:

  1. deliver the reader what they're expecting or looking for, in a quality manner
  2. encourage the reader to spread the word
  3. be easily found and purchased online.

The pressure to make an 'instant success' of your book is no longer there. 'Sleeper successes' are now totally allowable - particularly for ebooks and print on demand (PoD books). The keyword now is 'discoverability' - making sure that your book can be discovered by the people most likely to be interested in reading it.

So what if you really, really want a book launch? Again, my question would be, 'Why?' Be honest with yourself: what are you hoping to achieve? Unless you already have a high public profile and the money to throw at a book launch, you're unlikely to sell many books, so what's the point? If you wish to simply celebrate the fact that you've finished and published your first book, then sure, go for it. But expect it to be an expensive party!

Personally, I think you'd be better off plunging the party money into online ads to draw attention to your book. Spread that money out over six to twelve months and see how it works in getting you sales. Because at the end of the day, if no one wants to buy your book, then what are you celebrating with your launch?

This blog post was inspired by a guest post from Mark Coker (of Smashwords) here:
http://writenonfictioninnovember.com/2011/11/29/rethinking-book-marketing-why-discovery-matters-more/

For some ideas about marketing your book as inexpensively as possible, have a look at our 'marketing a self-published book' page on our IndieMosh site: http://www.indiemosh.com.au/market-my-self-published-book

Thursday, January 23, 2014

What is the difference between a traditional publisher and a self publishing facilitator?

With the boom in the availability of ebooks and print on demand production, it’s important to understand just what it is you’re being offered if you sign up for a self publishing package. While it’s important to know what you’re paying for, it’s also important to understand what’s not included in your self publishing package. And the best way to help you work out what to look for is to highlight the differences between traditional publishing and self publishing:

  • Traditional publishers or publishing houses take all the (financial) risk while the self publisher has to put his money where his mouth is and pay for the development of his own book. 
  • Traditional publishers take care of the book’s development and creation (in consultation with the author), while the self publisher has to consider undertaking (or outsourcing) the many tasks involved himself. These tasks will include editing, proofreading, book layout and formatting, cover design, assigning an ISBN, legal deposit registration or Library of Congress registration, and more.
  • Traditional publishers have a supply chain or distribution network which helps them get your print book into bookshops while the self publisher will usually find this a very expensive, time-consuming and, ultimately, unworthwhile process.
  • Traditional publishers will pay the author approximately 10% (starting point, often for the first 2,000 copies) of the RRP (recommended retail price) for each print book sold, and varying percentages for each ebook sold, but often limited to 25%. The self publisher will receive a much higher proportion of sales revenue from each book sold, (sometimes as much as 89% of the RRP for ebooks), depending on where and how it is sold.
  • If a traditional publisher is really keen to have a particular book on their list, they may pay the author an advance. The self publisher receives no income until a certain level of sales are made.
  • Traditional publishers will have connections and a marketing plan for your book, although it will still be up to the author to actually ‘sell’ his book. The self publisher needs to work out their own marketing plan and execute it.

Self publishing delivers a great freedom for many writers. They can write what they want, the way they want, and bring it to market more quickly than a traditional publisher might. However, having a traditional publisher who understands the market place, how to develop your book so it has the best chance of selling, and where and how to place your book, can often mean the difference between three sales and three thousand – or more!

But getting a publisher to take your book on is often just not possible, and these days it’s getting harder. Don’t be mad at the publishers, though. They’re in business, and to stay in business, they need to make a profit. If they feel your book isn’t likely to make them a profit, then they will decline it, no matter how interesting, original or well written it may be.

So if you find that you’re forced to walk the self publishing path, walk it with pride, and with knowledge. Find out everything you can about self publishing – with the internet and the huge volume of information available these days, you have no excuses for not being well informed! And then sally forth and stand behind your book.

If your book is successful and starts bringing you a little income, develop another and then another, and enjoy your new income stream.

For more information, visit our IndieMosh site for Australian self publishers: http://www.indiemosh.com.au/

Tuesday, January 7, 2014

A clean sweep

I don't believe in New Year resolutions. So much so that when I'm asked what mine are, my response is generally, 'I resolve not to make any New Year resolutions'!

But you know what? There's something about a new year, about the hanging of that fresh, new calendar, that seems to surreptitiously encourage us to make changes to our life. And this year, my change has been a big one. I'm throwing out all my art stuff, bar my watercolours, my acrylics and my quality painting paper. That's right - no more tissue paper collage, no more card making, no more valiant yet valueless attempts at screen printing or paper making, no more saving chocolate wrappers for that never-to-be-finished mosaic of the Amazon river, no more aluminium embossing, no more ... name another shiny new toy in the art and craft field! In fact, over the 10 years since I took up painting, the only area I haven't had a go at has been oil painting.

So much to play with, and so little horizontal space to play on!

Over the last 24 hours I have been pulling my art cupboards and collection to bits, sorting, stacking, and getting ready for the mother of all crafty and artistic garage sales. And weirdly, I haven't regretted the decision for a moment. Sure, I wavered a little over the packet of virginal Origami papers, and the aluminium embossing sheet had me a little indecisive, too, but on the whole, it was a lot easier than I thought.

So you're probably asking, 'Why?' The truth is, I'm not 100% sure, but I think it started with downsizing at our office - I had to bring an awful lot of stuff home to make way for some more people to fit in - and it filled our garage while we considered what we would do with it all. But the freedom at the office - now that we've also downsized our offerings to building websites and self publishing Australian writers - gave me more energy there.

And then I happened to find an old neighbour on Facebook, one who had moved away probably 10 or more years ago. And what did I find? Steve and his wife are downsizing their lives to go travelling. Luckily for me, he's blogging about it, and the first post which inspired me was 'Operation Ditch Everything' here: http://noknownaddress.wordpress.com/2013/10/30/operation-ditch-everything/ followed by 'It's all got to fit in there' where he talks about how he is 'finding the jettisoning of all this stuff quite liberating'. And he's right - once your mind comes around to the idea of freeing yourself of all that 'stuff', the weight just lifts!

My husband has taken this opportunity to repaint the lounge room, which has given us the chance to rearrange furniture as well. And with the new space I have created by emptying one cupboard, one table and the underneath of a table (nothing like a table that serves as storage!), we now have a 'new' buffet for our dining room. We have taken our board games out of the hard-to-reach cupboard at the back of the lounge room and brought them through to the dining room where they are more likely to be played with family and friends. We now have a new workspace in the lounge - if someone doesn't want to watch the TV, they now have a table to use for a computer or a jigsaw or to paint on, without having to be isolated in the dining room. Already we can see benefits to the way we use the spaces in our house.

It's going to hurt a bit, but we will all benefit. No longer will the family have to remember to save every piece of hard foil from inside a coffee jar or the twist ties from freezer bags (no, I didn't yet have a plan for those, but I couldn't throw them out), or every piece of plastic sheeting around flowers from the florist, or every piece of tissue paper or small box or ... yes, it was becoming a disease. I was probably just one collection short of being officially classified as a hoarder!

But no more. It's a new year. I have a new plan, a new lounge room to relax in, more time to relax in it, and less stress from the piles of accumulated 'things' just sitting there, waiting for me to play with them.

So thank you Steve, and Happy New Year everybody. What are you doing in 2014 that you didn't resolve to do?!