11 Things That Made Publishing Better This Year

This is just an initial list - more to follow in the week ahead!

1. Great designers like Gywn Kennedy Snider, Anne LoCascio and Michele DeFillipo.
2. TweetDeck, which allowed me to get my work done and follow my favorite Tweeters like @mikecane, @alicepope, @janefriedman, @amylibrarian, @ColleenLindsay
3. Experienced editors who stayed on top of the latest CMS rules so I didn't have to.
4. Book buyers at chain and independent bookstores who gave books by small presses the same inital chance they gave the bigger houses.
5. Authors who understood that getting a book published was just the ante-in. We LOVE the ones who stayed to play the whole hand through and knew they had a lot of work ahead of them if they wanted a shot at the "bestseller" pot.
6. Publicists who pitched books to print outlets.  (Readers like to read!)
7. Blu Sky Media Group and Greg Snider who showed such courage and determination to do the right thing when the bank closed in on his distribution business.
8. Printers who made their deadlines and didn't over promise just to get the job.
9. PW Daily, Shelf-Awareness, Publisher's Lunch, Media Bistro and all the other industry news providers who kept us informed.
10. Publishers who agreed with this statement:  "There is no such thing as a publishing emergency."
11. My eBook readers: Blackberry, Sony and Kindle.  (Sorry guys, that's how I am starting to roll...)

Getting Fed by Twitter

This weekend I went looking for Eddie Izzard on Twitter.  I like his world and political ideas and thought his tweets would be a good addition to my feed.  I found that Mr. Izzard has over a million followers and yet only follows 71 people. 

I have had WAY too many conversations with authors and publishers about their "Twitter marketing work" and how they are "putting it out there" on Twitter and Facebook.  I have never thought of Twitter as a way to push myself out there.  I have always seen it as an amazing learning bank. 

There are agents, publishers and industry insiders who generously share their wisdom, pass on news and tidbits and forward fantastic articles that I never would have seen otherwise.  Because of them (and Twitter), I am a more educated, informed person. I would not have ever have gotten the benefit of their wisdom without twitter and I am grateful for their generousity.

There are also a number of industry folks who use my twitter page as a place to promote (read: spew) their latest review, minor triumph or self-serving mention. For them, Twitter is a marketplace, not a place of learning and community.  Okay, I can see that; I can let Twitter be a marketplace on THEIR computer, but not mine.

For me, Twitter is an exchange of information, not a place to sell yourself.  It is a forum where I get to give and take with no expectations.  It is like any other relationship... Those who enter into it wondering what they can get out of it are not good relationship prospects.  The next time an author asks me about the return on my Twitter time investment, I am going to hit him/her over the head with a piece of Church of England cake.

So that leads me to my post next time...  Should I be more selective about who I follow?  Shall I unfollow those who have not turned out to be good relationship prospects?

Kindle and eBook Formatting Services Now Offered by Cadence

The Cadence Group is thrilled to announce that we have hired an eBook designer to format book files and manuscripts into the “big three” eBook formats.

We here at The Cadence Group are reading all the same things you are about eBooks.  We know that they are important. We know that eBook sales are growing at an amazing rate.  We know that new authors are faring better on Kindle than on bookshelves.  We also know that books will almost assuredly follow music into the digital age and those who get on board early will reap early rewards.

We know that if we do not have our books on Kindle (Amazon), Nook (B&N), and the other eBook reader sites, we will be missing out.

So, with that in mind, we can now turn any pdf or word document into the Kindle, Nook, and ePub formats.  At that point, we can either help you set up your own eBook accounts or you can use accounts you may already have to distribute your new eBooks.

We are offering to format your book files into all three of the major formats and deliver them to you in upload-ready files.

Contact us today at 518.391.2300 or services@thecadencegrp.com to learn more.

A look inside TCG

Many of you know Amy and I as business partners, colleagues and the women behind The Cadence Group (and this blog!). What you may or may not know is that Amy and I are also friends.

Last week, a friend of mine wrote and asked for my advice on starting a business partnership.  Most importantly, she wanted to know about a business partnership between friends.

The Cadence Group is a joint ownership between Amy and I and she wanted to know how it was going. A 50/50% joint partnership is not easy, but after I wrote the letter below, I thought it might be an interesting look inside TCG and how we work:

***

Hi!

The NUMBER ONE thing that can help you and your partner is open and honest communication. The good, the bad and the ugly. Also, open access to all accounting (this helps!). You really have to have the same long-term goals in mind for your business or it will never work.

For example, Amy and I got together recently to work out our partnership papers and our Business Plan. The partnership papers were actually the easy part. We spent three straight days at her dining room table putting together our business plan. Trust me, it wasn't easy. But the ground rules for our friendship also apply in our partnership - don't pull any punches, be honest, and talk it out. We push back on each other all the time regarding all manner of things. But because we started out with a business plan, it's also "easier" for us because we can also remind the other person to go back to our business plan and see if something makes sense.

Our goals from day one have been aligned in how we want to build our business, how long we want to own our business and our core commitments to customer service, free advice and helping people figure out what makes the most sense for their publishing program - even if it means they don't hire us. If our goals were different, I could get pissed that we "give away" 5-6 hours of consulting time a week. But I'm not because that's part of who we are and who WE want to be.

My suggestion would be to sit down separately and outline the following (this worked for us last year when we started down this path).

Personal 5 year plan (top 5 goals)
Professional 5 year plan (top 5 goals)
The business itself - where do you want it to be in 5 years (top 5 goals)
How do you want to extricate yourself from the business (sell, close, etc.) when you're ready to retire
5 Strengths and weaknesses I bring to the business and the duties related to those
5 Strengths and weaknesses my partner brings to the business and the duties related to those

This is something you should spend some time working on individually and then plan to spend several hours going through together. They won't match up perfectly, but if they're completely different, it might not make sense for you to be in business together.

Business can ruin a relationship but Amy and I have always had an open and honest friendship and been willing to have the difficult conversations with each other which makes us work well together. To be honest, we spent the first 6 months kind of walking on eggshells together but our business - and our friendship - has been better for us getting over the honeymoon stage and being ourselves and working together.

If the plan is solid and if both parties are committed to the same vision, it can work.

Basic Rules for a Successful Author Event

One of the best ways for an author to get their message out to their community and region is to do author signings. Booking a signing does take a bit of finesse. To start, know that bookstores need ninety days advance notice to properly book and promote a signing. Do yourself a favor and do not call your local bookstore asking to do a signing in three weeks. They have calendars and newsletters printed each month, and you need to respect their deadlines.

Next, most bookstores will not be able to book you for an event unless your books are available to order from a wholesaler such as Ingram or Baker & Taylor.  The book must show up in the bookstore's computer as available for order and returnable or you will have trouble getting a booking. So, don’t call to ask to do an event until you know that your books are available to order from a wholesaler or you are prepared to bring the books yourself and sell on consignment.

Finally, to better increase your chance of selling books, don’t just do a signing; plan an event. Sitting at a table for two hours can be a tad disheartening. Draw a crowd by reading, speaking, or giving a workshop. Invite everyone you know.  Get listed in all your local community calendars.  Reach out and advertise your event.

You might also want to plan a launch party on the publication month at a local store. Most bookstores would be thrilled to host an event for a local author because they often invite a large group of friends and family to attend. For a launch party to be successful, you need to send out invitations three weeks in advance, plan the evening around a reading or talk, and make sure you have someone there to take pictures!

Good pictures of happy people milling around a signing are an invaluable tool for your next event booking. Store managers want to know that you can draw an audience, work a room and, in general, make your event “worth their time.” Make sure you have a few pictures as proof that your events are fun, crowded, and profitable.

What if it doesn't work?

I make a living at being helpful.  I am incredibly lucky...  my day to day duties center around showing authors and publishers how they can achieve their goals.  Talking to authors and publishers is not actually part of my job description, but it takes up most of my day.  I love helping people figure out how to best focus their efforts and balance their expectations with the realities of the book world. 

Being of service to clients and non-clients alike is actually written into our mission statement.  Most of these conversations do not result in new business for The Cadence Group, but it does result in the feeling that we are helping others, steering authors away from being taken advantage of and doing some good for our industry.  And during those early conversations, I look like a real hero.  People LOVE me...

But sometimes I spend my day having to tell people that their book is not selling. They did everything right, but it is not working. That all the expense and time invested so far is not resulting in actual sales.  I look less like a hero then.

Once a book is launched, the stores notified of it's existence, the reviews written and the marketing done... what happens if the book does not sell?

The hard truth is most books do not sell well.  It takes a mixture of time, money, marketing savvy, good word of mouth and, most of all, luck to start a book on an upward trajectory that results in sales. 

What can we do to maximize a book's chances:

1. Start with a tried and true, modern, marketing campaign (reviews, online, bookstores, libraries, media)
2. But not rely on a marketing plan if the plan is clearly not working
3. Pull back the scope and focus on regional and author-based sales
4. Send out copies of the books to those who can make a difference (booksellers, freelance writers, bloggers)
5. But above all else, keep pushing.  Don't give up.  Keep participating in discussion groups, keep calling book clubs and volunteering to speak to the group, keep contacting local stores and libraries, keep pushing.

Very often authors get discouraged at the first round of disappointing sales.  They see all the money and time spent as wasted and give up or lash out at the bookstores/media.  It is easy to blame a short-sighted media or stubborn book buyer when a book does not get the exposure we feel it deserves, but often we are just being impatient.  Small presses cannot launch in the same explosive way a large book does.  Small presses can't spend that kind of money and can't rely on years of good-will from book buyers and the media.

But what can a small do that a big publisher can't?  Be patient, grow a book organically, give a book a long time to find it's market... give a book the time to succeed slowly.

Time + Dedication + Luck = Success. 

It is our job to supply the first two... let's not be short sighted.  But let's start from the expectation that every book will need a different set of activities to find it's prime market.  It is with time and dedication that we have the best shot of hitting upon those successful activities.  Authors at small presses have it harder.  It is tougher to launch a book from a small press, but giving things time and constantly trying new things gives a small press book advantages that big house authors only dream of.

The Cadence Group Announces New Shelves Distribution Program

The Cadence Group (TCG) is thrilled to announce the launch of New Shelves Distribution—a new and better method for fulfillment, sales and marketing. The program, which is now available, combines warehousing and fulfillment services with sales and marketing. 

“TCG has offered sales and marketing services since we opened in 2006,” says Vice President Bethany Brown. “This new program now adds a full service fulfillment option to the smaller and mid sized publisher. We provide warehousing and fulfillment to all the major wholesalers and retailers and then national, regional and/or on-line sales programs are created and executed for each title. This program is being offered as a less expensive and less constricting way to distribute books.”

“We wanted to do this right,” says TCG President, Amy Collins MacGregor. “We saw the need for an alternative to the traditional distribution options available for small presses today, but wanted to make sure we could launch this program properly. The New Shelves program provides publishers with a wide range of options. We can offer stand-alone fulfillment or we can combine fulfillment with a cost-effective sales and marketing program to all publishers.”

The Cadence Group has partnered with Pathway Book Services, an established and respected book fulfillment agency located in New Hampshire. Pathway will handle all warehousing, ordering and shipping for New Shelves. 

“Returns, consumer and website retail options and billing will also be offered by Pathway.” says MacGregor.

“We’re thrilled to partner with Pathway Book Services on this program,” adds Brown. “They have a long and distinguished history of working with small presses, great relationships with many of the accounts like Ingram and Barnes & Noble, and they have a commitment to helping small presses get their books out in to the marketplace.”

The Cadence Group has hired a full-time National Sales Manager to handle their new program and added a Customer Service Department to better serve their publisher clients. All inquires regarding the new shelves program can go to services@newshelvesdistribution.com or 518.391.2300.

About The Cadence Group: The Cadence Group is a professional design, editorial, sales and marketing, and project management provider for the book and publishing industry. They provide authors, publishers, and small presses with the guidance necessary to create market-ready, professionally designed books. Their goal is to help others realize their full potential in the retail and wholesale marketplace.            

###

Returns Kill Another Great Company

Blu Sky Media Group announced on Friday that they were forced to close their doors.  Greg Snider, the owner of Blu Sky Media Group is not declaring bankruptcy, he has negotiated with his bank to allow him to make a structured closing. 

Snider is a real class act.  He could have shut his doors and walked away, but he didn't.  He is spending the next several months working (for nothing) to make sure all of his publisher clients find new homes. 

This good deed in the face of tragedy is even more remarkable when you realize that Blu Sky's troubles are in no way Greg's doing.  He gave small presses a chance to sell their books to the trade and the trade was happy to buy them.  Blu Sky was formed to offer small presses the chance at distribution.  Most distributors will not touch a small press because one or two books rarely recoup the expenses and time needed to launch a press properly.

Snider found a way around that.  He was able to offer small presses way into the bookstore and library market.

What messed everything up?  Returns used as cash.  Blu Sky saw huge sales while things were good and huge returns when they weren't, just like everyone else.  Stores and wholesalers are allowed to return books that do not sell, that is part of the Faustonian pact we have all made, but for the last several years, they are paying their bills with returns.  Books are returned days before the invoices are due and then those same books are reordered a week later.... starting the clock all over again.  This practice is now so common place that many small and midsized businesses are shipping books over and over again for free.

I am not clamoring for the end of returns.  I don't want a complete turn-around on the policy that allows bookshops to take a risk on unknown publishers.  It is hard enough these days to get a small-yet-worthy book onto a bookstore's shelf.  What I want is a reform of HOW we accept returns.  We have to stop the practice of using returns as cash.  It is killing good companies.

Your Spine Is Your Cover

Here's one of the dirty little secrets in book publishing. Publishers spend countless hours and dollars working on their covers, but they often miss the point.  With the exception of online retailers, your book spine is your cover.

Brick and mortar stores are packed with books. New releases. Backlist books. Series. Gift books.

Walk to any category (perhaps your own) and take a look at how many books are crammed on to the shelves.

What do you see? The spine, if you're lucky.

All to often publishers make the mistake of not focusing at all on the spine of their book, not realizing that this is their number one marketing tool in brick and mortar stores.

What does this mean for you?

Spend some time on your spine.

Spine Size

Think about bulking your page count to make sure that your spine has presence. We're not recommending that you fluff your book with overblown margins or blank pages. But we are recommending that you don't cram in your text so tight to save a few cents on your printing prices.

Push it out a signature or two. It might make all the difference between getting lost on the shelf and standing out because you're 1/8 of an inch bigger. Choose paper that bulks. You might be surprised at how easy it is to snag an extra 1/16 of an inch through paper weight alone.

Spine Color

Spend some time analyzing what the spine colors are in your category. This is extremely important. If every spine in your category is white, choose a vibrant color. Choose something that stands out. Choose something that practically leaps of the shelf and screams "pick me!" This is the time to buck the trends and be a little different. If you're not sure what will work, grab some books that have different spine colors and stick them on the shelf where your book will go. Which colors pop to you? What do you see first?

Spine Text

Make it readable! Make it bold! Make it big! Make sure that the reader sees your spine and your text right away. If you're standing 3 feet away from your spine, you need to be able to read what it says (see above about spine width - the bigger the spine the more room for bold text).

Take it to the Bookstore

Let's keep this next bit between us...

The best way to really know if your spine works is to print out several versions, colors and copies true to size. Cut the spine out, getting rid of excess paper so you're literally holding your book spine in your hands. Put a tiny piece of tape on the end of each option. Take your spine options to the bookstore and visit your category. Stick the various spines on the books that will sit next to you (usually alphabetical by author's last name within category or subcategory). Which one works? Do any? What do you see? Can you read your title? Do you get lost on the shelf because you're too tiny or you blend in too much?

Lack of attention to your spine can kill your book in the marketplace. Once you get in to stores, your spine really is your cover. When you consider the time, money and energy that you spend getting your cover right, promise us, do the same with your book spine.

P.S. Remember, be polite during any bookstore research. Bring your spines with you when you go and don't interfere with bookstore customers!

Profit and Loss

Over the last few weeks, we have been discussing the dollars behind the decisions publishers make. Hardcover vs paperback, cover design, retail pricing... all of these items and many more need to be weighed against the bottom line. In these discussions, we have been tossing around the phrase "P&L".

A reader contacted us off-line to ask about "P&Ls" and how they are set up. Thought I would share some of the more important "Profit and Loss" line items that we believe every publisher should add up before publishing a book.

Author Advance: How much you paid the author against future royalties for the right to publish the book.

Development Edit: The cost of hiring an editor to shape and polish the writing.

Copy Edit: The cost of hiring a separate editor to check for grammar, spelling, inconsistencies, fact check and smooth out awkward sections.

Proofread: The cost of having (preferably two) editors review the finished file right before it goes to print and catch the inevitable errors.

Design: How much you pay the designers to design the cover and interior look of the book.

Layout: How much you pay the designer to layout the text and images within the design template and fix all the errors your proofreader finds.

Art costs: The cost of the photos or illustrations you will purchase for the book.

Marketing and PR: The budgeted amount for promoting the book. Email blasts, on-line optimization, ads in industry newsletters, author tour, getting reviews, in-store display allowances, co-op, book club and library outreach, etc.

Sales and Fulfillment: The costs associated with warehousing, shipping, selling, and billing for your books. (This is often portrayed as a percentage of the billing per unit if you are using a distributor. Sales rep groups, fulfillment houses and distributors often charge a percentage per sale)

Printing and freight: The costs to print and ship your books from the printer to the warehouse.

Once you have added the figures associated with every aspect of your book's production. marketing and sales, divide by the number of books you believe you will sell in the first two years. Be realistic. As we have said before, you are not going to be on Oprah (we promise).

Here is a sample breakdown of how a P&L works for a book. I'll call the book "Blown: My Life and Fortune as a New Author"

Blown (at 336 pages, paperback) retails at $16.95

This book's entire budget totals $30,000 for the items listed above.

After careful research, you expect to sell 5000 copies in the first two years.

The cost per unit is $6 a book.

Let's say you sell the book through traditional channels which means that you sell the book at a 55% discount off of the retail price of the book.

Your gross income from each sale is $7.63

You will net $1.63 per unit sold. (This is a healthy profit margin on a P&L)

But what if you only sell 2500?

The cost per unit will be $12 a book and you will never make your money back.

The solution many new publishers reach for is to raise the retail price of the book, but that is usually not a great idea. As we have said before, set your price to match what the marketing is asking for. It is better to adjust your expenses than raise the price of your book beyond what a consumer will pay for it.

Be very careful about your expectations and sales projections. The more accurate they are, the better you can work your profit and loss and keep your budget in line with potential sales.

Let's Make a Deal - Setting Your Price

Just recently, we blogged about the importance of category research when choosing the right cover for your book.

Category research might be a theme for several posts from us moving forward. All to often, clients, potential clients, publishing friends and colleagues come to us with finished books (or book ideas). All to often, we come back to them with a myriad of questions - including, how did you come to that price, trim size, title, subtitle, cover, etc.?

For us, each of these "packaging" details must be dictated by the market into which we publish. While we always have an opinion, our number one goal is to ensure that our clients and colleagues are getting real-time feedback from the retail marketplace. In this case, our opinion doesn't matter. The marketplace, however, does.

Which, for today's post, brings us to price.

How do you choose the appropriate price for your book?

The first place to start is, of course, your P&L. Once you factor in your advance (for our publisher friends), your editing fees, copyediting fees, layout, design, printing prices and marketing budget, what is your profit margin?

As you know, a P&L is only as good as the person that creates it. For example, if I price a 196 page trade-paperback business book at $24.95, I'm most likely going to see a healthy profit margin in the end. The cost for editing, printing and producing such a book is often dictated at a per-word or per-page rate. Tiny book, tiny costs, big profit margin. That all sounds good, right?

The only problem with this particular analogy is that selling-in and selling-through a 196 page business book for $24.95 is going to be really difficult. People don't have the disposable incomes that they used to. And, more importantly, this particular lightweight book may not scream "value" to your end customer. Especially if they can get a similar book on the same topic for $12.95.

So how should you really set a price?

Let's work backwards.

Let's say you're publishing a book in Category X. Get on Amazon, go to the bookstore, peruse your bookshelf. Pull out all of the bestselling books in Category X. What's their price point? What does the consumer get for their money? Is your category driven by a 336 page trade paperback for $14.95? Do "unknown" authors charge a dollar or two less for for their book? Does the price point reflect a big author's name? A page-heavy book? Do some publishers actually charge less because price-point is their value proposition?

Here's what you'll discover through this simple exercise. The consumer is actually telling you, through book sales, the price they'll pay for a book on your topic in Category X.

If, for example, it's $9.95, $12.95, $14.95 or $19.95, then that's the price you need to get to. It doesn't matter that you're convinced that your book is so extra special that you're sure the consumer will pay an extra $10.00 for it. Research will show that's most likely not the case.

Everybody's on a budget these days. If your P&L shows that you have to sell 15,000 copies of your $5.95 book to make your money back, than that's what you have to sell. Charging $15.95 for that same book just to make your money back, in a category that can't sustain it, just means you won't sell very many copies of your book.

What you need to do is go back to your P&L and take a look at real costs compared to a researched price point. Figure out how many books you need to sell and develop a sales and marketing plan to make it happen.

Like so many things in our business, strong market research can prevent you from making some of the simple mistakes that can have long term, adverse affects on your publishing program. Setting your price is just one area.

So, let's make a deal. Next time you decide you need to charge $24.95 for that 196 page book to make your money back, rethink how - and why - you've gotten in to this business to begin with.

"But how many books will I SELL?" - Author Events Part Two

One of the first things a publisher or author will ask of any marketing plan is "what is the return on my investment going to be?" The person with the checkbook wants to know that if they write out the zeros, they can plan on a significant return on their investment.

I hate to tell give them the only answer that anyone can give... "It depends."

Carol Zelaya, author of the Emily the Chickadee series, published by Richlee Publishing, launched her first children’s book in April 2008. She hired a fantastic PR firm to set up the launch, complete with a book signing tour covering four states that she expected would stimulate sales. Her expectations were quickly dashed.

“I mistakenly thought that once you were invited to do a book signing, you had really made it." says Zelaya "I was so wrong. Even when the stores did tons of publicity and put up big posters, no one came.”

But are sales the only purpose of an author tour? What results and returns can authors expect when the people don't show up at the event? Why do an author event if no one can guarantee sales?

“The thing you have to remember is the benefits outside of the event.” Says David Brody, author of several novels, including Cabal of the Westford Knight, published last February by Martin & Lawrence.

If you go into a tour looking at it strictly in terms of sales during events, it will not work, Brody says. “I may sell only 5 or 10 books at an event, but that is not the point. I have to take into consideration that the store orders the books a few weeks ahead of time, makes a display, puts up a poster; plus, the manager and employees get to know my book. At the event, who knows who will hear me and what they might tell other people? And after the signing, I will leave a few signed copies and those might get displayed for a few weeks. I can often attribute 50 or 60 sales to an event that drew only 10 sales that day. If you look at it that way, the economics make sense.”

So the question I put out there is this... "What is the REAL return on your author tour investment?" I'd love to hear from authors who have recently toured to see if they think touring is worth their time and money.

Bookstore Feedback - Part One

A couple of weeks ago, we blogged about our research in to bookstore events. We also indicated that the results would be coming soon. We'll most likely separate our many findings in to several posts.

First is the results of an extensive telemarketing campaign that our team put together. I think you might be as surprised as we were....

Over the past six months, The Cadence Group called 1034 bookstores and asked following question:

“Do you host author events?”

We called a wide range of stores. We called independent bookstores. We called chain bookstore. We called gift shops. We called institutional bookstores. The answers we received were varied and surprising.

“I don’t do events anymore.” “I can’t afford the extra staff, time and effort that book signings entail.” “Will the author bring their own books?” “We don’t do well with author signings.” “We only book events from large publishers.” “We’re too small for events.” “We only book local authors for signings.” “Our customers don’t come out for events.”

This small sampling drove home how deeply the struggling economy is affecting retailers everywhere. It also highlighted the many ways that the face of event marketing in the publishing industry is changing.

When our marketing team started our calls, we expected an enthusiastic and positive response from retailers. We thought we knew that bookstores were ready, able, and excited to host local and regional authors. We thought we knew that retailers were looking for ways to draw people to their stores and that author events would be near the top of the list of how to do so.

We thought wrong. We'll let the numbers tell the tale...

Out of the 1034 stores we contacted:

• 825 were Chain or Institutional Stores
• 209 were Independents and Gift Stores
• 254 stores told us that they did not do events because they were too small or did not have the staff
• 117 stores told us that they did not do signings because no one came
• 21 stores told us that they were not booking events because they were not sure if they were going out of business or had recently closed their store fronts.
• 18 hung up on us
• 4 yelled and then hung up on us
• 620 stores did events and booked authors for readings, signings, story times or workshops

Out of 1034 stores, only 620 indicated that they do events. That's roughly 60% (according to my trusty calculator).

While that may seem like a high percentage, you then need to factor in location, region and genre. How many were children's bookstores? How many were category-specific? How many were located in smaller regions around the country?

When you start asking these questions and reviewing the results, you realize that 60% is not that high of a percentage at all.

So now the question is.....if fewer and fewer bookstores are hosting author events, what's the next "big thing" for marketing a new book?

And, if authors and events don't draw people to bookstores, than what, if anything, does?

Don't Judge A Book By It's Color

Just yesterday, someone posted an interesting question to one of the discussion groups that we follow.

Basically, the question was "Does anyone have any idea what the "ideal color" for a business book should be?"

I was surprised by the number of responses that actually suggested a color! Blue, it seems, is the color people associate with business books. Apparently, content and subcategory doesn't matter. It should just be blue.

To me, responses such as these are dangerously irresponsible. How can a group of people suggest a "sellable" color without doing the extensive research needed to choose a book's packaging?

How can something as vitally important as a book's cover be reduced to the simple question of: "What color should a [insert your own category here] book be?"

Below are some highlights from my response to the "color" discussion. I hope you find them useful:

Asking about the color of a business book doesn't take in to account so many important variables. To come up with a thoroughly competitive cover design, you should do the following:

1. Research the subcategory - leadership, time management, ethics, human resources, business management, management, how-to business, marketing, etc.

2. Purchase (or at least go to the bookstore and look at) the top sellers in your subcategory. Identify the colors, fonts and images used.

3. Find out what's working and why. Are they all the same color, same title treatment, same image pattern? I'm guessing not. Why not? Which of the books "popped" off the shelf most. Why? (the color could be why)

4. Pull out books in colors that you and your client like that are in your cover design. Put them in the shelf within your category. Can you see them? Why? Why not? Which colors will stand out on the shelf.

It's important to keep in mind that cover design is ultimately driven by the consumer. We teach people what to expect when they go in to the business category in terms of look, feel, trim size and even price. So, you want to be sure that you're what they expect. At the same time, it's important to stand out. If every book in your subcategory is blue, you might want to try red, or green or muted purple. You might want to try something very bright that practically leaps off the shelf.

Most importantly, there is no set formula for choosing "a color" for any category of books. you need to thoroughly research the subcategory and find out how you can match up against the competition and get noticed on the shelf.

Bookstore Events - Your Thoughts?

The Cadence Group is doing some research in to bookstore events and we'd love your thoughts!

As we know, the landscape of book marketing is changing on a daily basis. Budgets are being slashed at all ends of the publishing process from advances to marketing to promotional placements to author tours. Publishers and authors are trying to figure out how to best reach their readers.

The avenue that we're currently exploring is the author tour, book signings, and/or bookstore events.

Do they work? The Cadence Group has interviewed a number of authors, independent retailers, publishers and chain bookstores. We'd love to get your thoughts and feedback as well.

What's your experience?

Results coming soon....

Old Friends, New Faces

The Cadence Group, like several of our friends, is preparing for next week's book extravaganza in New York at BEA. 

This year, the face of the show may look a little different. Many of our old friends will not be attending. Some won't go at all, others will be sending a limited staff. The show is expected to be a little smaller and a little less attended than years past.

We do believe, however, that getting together with a great group of book lovers will be a time of excitement for our industry. We're looking forward to perusing some of the new technologies, new titles, and "out of the box" concepts--those that have been announced and those that will surprise us on the show floor.

While we will miss some of our old friends, we're excited to "meet" several of our new friends and clients.  And most importantly, we're looking forward to seeing what great things the book industry has planned for the future.

Are things turning around for Borders?

Three months ago, it was announced that Borders was seeking to combine existing stocks in an attempt to bolster their stock prices to above a dollar. Three weeks ago, they announced that their stocks had risen above a dollar all on their own. The cost cutting and new management policies put into place by Ron Marshall seemed to be working. Investors were impressed and the stock has been rising ever since. Last closing, BGI was traded at $2.62.

Business journals that had recently written off the book retailer are now pointing to BGI's possible rejuvenation. Reporters, who in February named Borders as one of the top 10 companies guaranteed to fail in 2009, are now heralding a new day at BGI.

Will Marshall's changes be good for the company? What do you think of Borders' "turn-around"?

Do You Go To Author Events?

One of the things we do here at the Cadence Group is set up author tours.

It is getting harder and harder to convince stores to agree to host our touring authors. It's not that they don't want to offer their customers an event, it's just that they cannot afford to.

Staff at bookstores nation-wide has been cut very deeply and stores do not have the staff to work an author event.

It is hard to convince a cash-strapped bookstore owner to staff up for an event when there is a good chance no one will show up. The extra staffing costs for even one disappointing evening can kill a store's profit.

So... my question for you is.... do you go to events at bookstores?

Educated by the Audience

Last weekend I had the pleasure of traveling to sunny Florida to conduct a workshop for the Space Coast Writers' Guild. While I may have been the presenter, I also learned a lot from this really fantastic group of writers.

In fact, I came home with a smart list of questions about the market and industry that I thought needed some extra research. These writers are really on top of their game.

We talked about marketing, positioning, platforms and social networking. They wanted to know category sales trends, competition and how to differentiate themselves from other books on the shelf. They asked smart questions about self-publishing, e-books and grass roots publicity.

While we spend a lot of time talking about the changing landscape of what's happening with publishers, this group taught me another important lesson.

Savvy writers are learning to navigate our industry just as well....if not better...than the rest of us.

Special thanks to IBPA

This month The Cadence Group published our very first article in the IBPA Independent. We're grateful to have had such a wonderful experience with a fantastic organization.

If you're not familiar with IBPA (the Independent Booksellers Association), you should check them out. We're huge fans.

IBPA is an organization that has the utmost integrity and works very hard to provide good information to independent book publishers. Bravo!

If you'd like to take a look at our article, please feel free to check it out:

http://www.ibpa-online.org/articles/shownews.aspx?id=2771

And special thanks again to IBPA from those of us who learn so much from your organization.

Careful What You Wish For

This week, The Cadence Group received an order for 30,000 units of our first book. It is the kind of order that could make my year.... it could also destroy my company when and if they all come back.

So here is the question. Do I print and ship books to a company that will send the books back in lieu of payment?

It breaks my heart to say it, but here is the answer: No.

My very first big order of my new publishing program and I am going to turn it down.

Sheesh.

Borders Layoffs more Corporate Staff

The net is strangely quiet about this layoff round.... if anyone has news about who got cut and who is left, please leave it here or twitter it to @thecadencegrp. Thanks!

ANN ARBOR, Mich., Feb. 19, 2009—Borders Group today announced that it has reduced its corporate workforce by another 136 positions, which were eliminated effective today. The majority of the jobs, which represent about 12% of the corporate workforce but less than 1% of the company’s total workforce, are based at the company’s headquarters in Ann Arbor. The workforce reduction was spread across virtually all business areas, including marketing, human resources, field management and corporate sales. The reductions were made at various ranks, ranging from entry level to middle management. Affected employees are being offered transition pay, severance and job placement assistance.

Today’s changes follow the company’s announcement just over two weeks ago that several top-level corporate positions had been eliminated to reduce management layers and help drive expense reductions.

“While reducing payroll is never easy and we respect the impact it has on employees and their families, it is one of the necessary steps we must take along with other non-payroll expense reductions to help get this company back on track financially,” said Chief Executive Officer Ron Marshall. “In this time of transition, I greatly admire the tenacity and focus that employees at all levels here have shown as we drive to significantly reduce expenses and bring other key financial measures in line. We will continue to move forward with deliberate speed to make the changes required to get Borders back on firm financial footing.”

A Game of "Chicken"

I got a call from a publisher pal the other day asking me to help him rework his 2009 sales estimates.

Book #1? 1500 units. Book #2? 1000 units Book #? 2000 units....

As I go through the list it becomes clear that he cannot afford to publish most of his Fall line.

Looking over his list again, I see wonderfully written, smart, quirky books that in 2006 would have charmed the socks off of the media. At least one of them would have become a minor sensation and carefully nurtured by a score of pr and marketing people. The books would have sold between 5000 - 10000 in the first year to the bookstores and libraries who support new authors and small presses.

Today, the books are not going to receive any pr or marketing outside of the author's efforts and a few press releases from the publisher's office. In addition, while the publisher is realizing he has no money to promote, bookstores are realizing that they have no money to risk on smaller books without promotion.

It is a vicious game of chicken... publishers lament the lack of distribution and bookstores bewail the lack of promotion. And more and more consumers go on line. How are small publishers going to get the word out about new authors with print media crumbling in on itself and the online cacophony rising with each passing day?

The Power of an Apology

Last month I messed up. I mean REALLY messed up. Never mind what I did, but suffice it to say... It was bad. It was an error, not an omission, but should not have happened and it impacted a client's book launch.

My client (let's call her Rebecca) called to let me know that she was beside herself and she rightfully let me have it. She wanted her money back. She wanted my head on a platter. And then she wanted me to really suffer.

Today Rebecca is my happiest client and has just signed up for another 6 months of service.

What happened?

I apologized.

When Rebecca called up last week yelling, my first instinct was to defend myself. I wanted to explain that there were extenuating circumstances. Iwanted to remind her that she was just as much to blame.

But I bit back the urge to interrupt and fight back. I ignored the voice in my head telling me that it was not FAIR to be blamed. I listened to what she had to say and then I completely copped to it. No excuses, no defense. I took full responsibility and promised to do everything in my power to make it right.

As I apologized and made a commitment to fix what I could, I gave Rebecca the only thing I could at that moment... I honored her by admitting she was right to be upset without a defensive tone or throwing around passive-aggressive blame. In an instant, I was once again her partner and would work with her to make things right.

There is strength in admitting that we are wrong. No one is perfect. Admitting we are wrong without justification can help us lose our fear of imperfection. No matter how unfair we think it may be or what other circumstances are to blame, when something goes wrong, it is best to take a deep breath, look at the situation honestly and take responsibility for the parts of which you are responsible.

.... and then not do it again.

All The Best Sara

Monday morning, Publishers Weekly Editor-and-Chief, Sara Nelson, posted an article stating that she was feeling optimistic about our country and industry. She mentioned the new government, the economy, and that her hope that layoffs in the publishing industry were abating. A few hours later, the word went out that Nelson had been caught in the PW layoffs.

The irony aside, Sara should feel optimistic about publishing and our world.

The publishing blog Beyond Hall 8 pointed out that publishing seems to belong to the young. To the casual observer, 28 year old phenoms are taking over the media. Even PW has a regular feature called 40 under 40. We should celebrate the energy and innovation that a constant stream of young hopefuls brings to our businesses. We should not begrudge the phenoms their moment in the sun.

But neither should we forget the contributions and value of our industry leaders. Sara Nelson showed herself to be a very capable leader. She grasped and touted new technology and innovations and never hid behind the comfortable "because we don't DO it that way in publishing." stance. Age is not the issue in publishing, innovation and willingness to pay attention is the issue in publishing. Sara Nelson paid attention.

Our industry is going to survive and grow because of people like her. Publishing is better off because of Sara Nelson. She is a consistent, classy, intelligent member of our community who spent her time at PW participating in industry events, showing new-comers a great deal of patience, and still found the time to post well-reasoned, well-written articles that kept our industry well-informed.

Best of luck, Sara... let us know how we can help... we owe you!

Job Security

Over the last few months, friends and family members have lost their jobs and double-digit percentage points off their retirement funds. While the financial losses are devastating, it is the emotional losses that are having the deepest impact.

These wonderful, intelligent, people invested their money in and spent their days working for other people's companies. They believed in the comforting and well-advertised idea that fund managers would increase their wealth and that companies would reward their loyalty.

A few years ago, I traded my savings and retirement funds for the opportunity to start a small business. With that decision, I gave up any comfort my investments may have supplied and, instead, invested in my own future.

While friends and loved ones shook their heads in private while giving their unwavering support, they all wanted to know: "How are you going to deal with the insecurity of not having a real job?"

Today, it is easier to answer that question. I cannot be "downsized". My portfolio cannot be halved. Today, my risks, hard work and efforts are not a guarantee of security, but the results are more firmly in my grasp than those working for others. A venture-capitalized board of directors will never again have power over my future.

The sad truth is, no one has a "real job" anymore. Real jobs have not existed for decades.

Your query letter IS your cover letter

Would you spend hours working on a resume only to throw together a quick generic cover letter and hope you get an interview? Probably not. In fact, in today's tough economic times, your cover letter is probably the most important piece of your "package" in any job search.

A good query letter is much the same. This is your calling card. This is your first introduction. This is the one page you have to make you, and your book, stand out from the hundred if not thousands of proposals that publishers and literary agents receive every year.

Writing a good query letter can be daunting. It can be scary. It can be overwhelming. Here are a few tips to help you get started:

1. Address your letter to a specific agent or editor at a specific agency or publisher. Don't send out something generic.
   
2. Make sure that you're sending your letter to an agent or publisher that works in your genre. One of the biggest mistakes that authors make is not doing their research. Agents and publishers list their interests and previously sold titles on their websites. Check them out and make sure your project is a good fit.
   
3. Show that you've done your research. Mention a book or an author than an agent has represented in your first paragraph. Identify why you picked this particular agent or publisher to query.
   
4. Sell yourself. Give you and your platform a full paragraph. Explain why you are the best author for your book and how you can sell yourself and generate book sales.
   
5. Be courteous. Let people know if your project is on multiple submission.
   
6. Identify a market for your book. Really. A real market. Add a statistic or two.
   
7. Be respectful. Use appropriate business etiquette.
   
8. If you're just sending a query letter, let the agent or publisher know what else you have available - i.e. A full proposal and two sample chapters are available upon request.
   
9. Have someone else read your letter before you send it. Even the best of writers needs an editor. Typos have no place in a good query letter.
   
10. Be succinct. Keep your query to one page. Identify why you've chosen a particular agent or publisher, pitch your book, identify your market, sell yourself, thank them for their time.
    

Good Luck!

Sued Over Returns

Just saw this notice on PW Daily that Jasmine-Jade Enterprises is suing Borders and B&T over their returns.

http://www.publishersweekly.com/article/CA6627843.html?nid=2286&source=title&rid=856897678

Fascinating... isn't it the publisher's responsibility to monitor and manage the flow of stock out into the market? As a publisher, my job is to keep an eye on my stock exposure...

It's pretty simple. Yes, the retailers and wholesalers will use the returnable aspect of books to their advantage. I have to make sure they don't do it to me. I use bookscan and sales data to keep my stock exposure below what I can handle in returns.

I hate returns and I despise the practice of returning books at 87 days to pay invoices, but if I sell a book on a returnable basis, I cannot very well turn around and cry foul when they get returned.

That having been said, I look forward to more details as this lawsuit unfolds. Perhaps there is more here than meets the web....

Everyone Will Want to Read My Book…

No they won't.

The first rule in publishing is to know your audience. For authors and publishers, this means know your reader (the end consumer) and your business partners (retailers).

While you may believe that you’ve found the “perfect” book that is uniquely qualified to be all things to all people, it’s important to really know your audience.

Let’s look at this through the eyes of a potential publisher:

The Retailer—While the publishing business is moving more and more to online sales and marketing and finding a solid audience, it’s still important to ensure your book is “shelved” in the right place. While you may have written a novel for 8 year old girls that can have a positive impact on her 12 year old brother with special advice for mom and dad, that particular shelf doesn’t exist in the bookstore. Your book will be shelved in one category. This is important to know before you ever write your book proposal. You need to identify where it goes in the book store so you can determine what editor or publisher to send it to. They know their retail market, do you?

The Consumer—The consumer is the end audience for your book. This is the person that will pick it up, skim a few pages, and ultimately make a purchase. Whether it be for themselves, as a gift, or required reading for their occupation, that consumer is your audience. That means you need to know: Who they are? What they buy? How they shop? What the competition for their business is? Does your book “fit” your consumer? Do you have the right cover design, price, trim size? Are you shelved in the appropriate category?

These are just some of the questions that agents, publishers—and retailers—ask when they are pitched your book alongside thousands of other books. If you want to stand out in a crowded marketplace, it’s important to know your audience.

What Does Borders Need to Do to Survive?

Borders Books and Music is now experiencing it's fourth major management shake up in 15 months. Over the last year, several key and not-so-key upper level positions have changed hands several times as Borders tries to find the right leaders to help them reclaim their position as America's favorite bookstore chain.

Sites dedicated to Borders employee opinion are full of complaints about 2008 staff cuts and management decisions, Borders stock prices have plummeted and they are in danger of being delisted on the Stock Exchange. It is a dark time for a chain that has worked so hard to be the "nice guy" in the publishing retail world.

George Jones has been replaced by Ron Marshall, a CEO who has experience both in books and in turning around companies. George was a good man with good ideas, and I wish him the best. He did what he thought was right and drove down Borders debt considerably.

But my most fervent hopes are with Ron Marshall. If Borders cannot turn things around and bring themselves back to health, things will be very bleak for publishers and authors.

Stock prices aside, Borders deserves a chance to reinvent themselves. I have nothing against, Barnes and Noble, but Borders is a strong supporter of local arts, launches new authors on a regular basis, and works with publishers in a cooperative manner.

So I ask.... why do you think Borders is declining? What would YOU do to improve things at Borders?