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Posts Tagged print books
Did you use one of the Createspace ISBN? I want to be able to sell directly (like book signings) and wonder if it is better to buy the ISBN?
The ISBN is a unique digital identifier for a book (oh here’s the Wiki entry). Traditionally, publishers buy them in batches of between 10 and several thousand, and allocate them to each edition of any book – even ebooks. If you’re UK based you can get them from Nielsen, in the US from Bowker. CreateSpace offers you the option of a free ISBN or you can input one you’ve bought yourself. If you use the other main indie publishing print-on-demand company, Ingram Spark, you need to supply your own ISBN.
Your own ISBN or CreateSpace’s? The pros and cons
There’s a lot of emotional talk about whether you should buy an ISBN or use CS’s. Here are a few myths dispelled.
Doesn’t the book ‘belong’ to CreateSpace if you use their ISBN?
No it doesn’t. It belongs to you. You have the copyright. However, you are restricted about where you can have the book with that ISBN printed. See below.
CreateSpace will be seen as the publisher of record.
Yes it will. I’m not sure this makes any difference to individual buyers who are browsing for your book. If they’re trawling down the book details, liking what they see, they’re unlikely to screech to a horrified halt if they see it’s published by CreateSpace. They probably won’t notice.
However, the CreateSpace name may deter booksellers from ordering. But that’s not because the name is associated with Beelzebub Bezos, self-publishing or any other giant imaginary stigma. It’s because CreateSpace’s distribution terms (through Expanded Distribution) are not as favourable as Ingram Spark (Lightning Source for indies). CreateSpace discounts are not as competitive and delivery times are not as swift.
In the past, indie authors who published via Lightning Source (now Ingram Spark, remember) found their books sometimes showed ‘out of stock’ notices on Amazon. This has caused much hair-tearing, and mumblings that the big corporations were having some kind of squabble with publishers caught in the middle.
So now, many indies are now buying their own ISBN, printing through CreateSpace to sell on Amazon, then printing the same book (with the same ISBN, remember) to distribute everywhere else. Best of both worlds.
It all sounds good – except for the cost of ISBNs. In some countries they’re free, in which case you’re laughing. In countries where they are not, you’re not laughing. From Nielsen, you’re looking at £144 for 10. The unit cost is lower if you buy 100 (£342) but that’s rather too painful for me. Allocating ISBNs used to be a big administrative faff (I used to fill in the publisher’s forms when I was in charge of an editorial department) but now it could surely be automated and free. Don’t get me started, but I’d rather use that money for something that would benefit the reader, such as better cover art. Also, publishing on Ingram has a cost too, they charge for changes and the set-up is more challenging.
More on expanded distribution
1 So far, all my print titles have used CreateSpace ISBNs. Despite the distribution factors, this doesn’t stop me getting bulk orders every month for the Nail Your Novels. I can’t tell where they’re going, but they are being bought in bulk, somewhere. Maybe I’d get more bulk orders if I had my own ISBN and an Ingram version. Who knows?
2 According to Bowker:
Without an ISBN, you will not be found in most bookstores, whether online, or down the street from your house. Buying an ISBN is your first step to insure that your book is not lost in the wilderness.
This is true, of course. But even if books are on databases, and available at competitive rates, they sell zip without publicity. Bookstores get some of their stock because customers ask for it. But much of their speculative stock is books they order because they are featured in the wholesalers’ magazines, which is arranged by publishers’ marketing departments, or because a publisher’s rep called. So even with a shiny Bowker-or-Nielsen ISBN, the world is not your oyster. How much of a publicity campaign can you mount? Put another way, without a shiny Bowker-or-Nielsen ISBN you may not be missing very many sales because getting noticed is the most difficult thing of all. (Sorry.)
Short version, please
Sorry, Daniel. If you’re getting your paperback made for Amazon sales and direct hand sales, a CreateSpace ISBN will be fine. Certainly if you’re new to making books, use CreateSpace as your training wheels. Also, there’s nothing to stop you making a new version with your own ISBN, and uploading to CreateSpace and Ingram later on. You can change the CreateSpace settings to take your book off expanded distribution, so that the copy that reaches catalogues is on bookseller-friendly Ingram. You can also, if you have a really neat mind, disable the old CreateSpace listing by making the book unprintable, which takes new copies off sale although the old listing will remain.
As for me, I usually use the Createspace ISBNs. But I’m trying a new tack for the plot book. I’ve made a deal with a small publisher to put the book out with their ISBN. They get the book for their catalogue, I do everything else. I’m initially printing through CreateSpace, then seeing if a non-CS ISBN printed with Ingram Spark will give me any advantage. It would be nice if I could eat my pessimistic words about ISBNs. I shall report. :)
Thanks for the printing press pic Tadson
The ebook of Writing Plots With Drama, Depth and Heart: Nail Your Novel is now available on pre-order. It will go on live sale on Twelfth Night, 5th January, and if you order beforehand you can get a special pre-order price.
‘On the twelfth day of Christmas my true love sent to me… Twelve drummers drumming, eleven pipers piping, ten lords….’ Is that too complicated for an opening scene?
Anything further to add? The Createspace/Ingram universe is changing all the time, the ISBN issue is one of the most divisive in the indie world – so comments and further discussions will be welcome!
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When you’re getting your books into stores, there are certain practicalities to consider. Will the delivery costs eat your profit? Are you on the database they order from? How long will they keep your books for?
I’m still new to this, but there are a few guidelines I’ve established that might help if you’re approaching bookshops to sell your work. And if there’s any advice you’d add, do please jump in! Every shop is different and I’m sure my experience is merely the tiniest visible part of a very large berg. Here are my tips at the Alliance of Independent Authors…
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So why did I change?
First of all, I wanted to funk it up. Give it a chance to pop. The purple cover didn’t scream ‘creativity’ and was rather more staid than the tone of the book. (A point that was echoed by a few commenters here and there. Glad we feel the same, guys!)
Also, the original cover wasn’t designed with a series in mind. For books 2, 3 et al I could have varied the background colour and the wording, but the difference would have been practically invisible on a black and white ereader. And see my previous remarks about dullness. Dull, dull, dull.
This tied me in a few creative knots when I designed the characters book. It had to look like it evolved from NYN original, and allow for distinctive variations with further books. And then – something that nobody knew but me – the characters book and its cousins also had to fit retroactively with the updated design.
So… the new NYN cover had to look like the origin book, rather than another book in the series. For a while I fiddled with graphics that would suggest ‘writing’ and ‘drafting’, but decided that might look like another new book. In the end I stuck with typography, to echo the original cover’s use of quotes from the text. This gives it the best chance of being recognised as the original book, but still look like a snazzy reboot.
Big tip for updating a cover on CreateSpace
When you update a cover (or the book’s interior) on CreateSpace, the book becomes unavailable until you approve it, although it’s still available from third-party sellers. It spends 12-24 hours being processed, then they allow you to proof on screen or order a print proof.
Obviously you don’t want your book off sale. so you want this completed swiftly. With a major change like a new cover, you need to see it in print; with colour processes, trimming and so on I think it’s too risky to okay a new cover on a digital proof only. But the fastest you can get a proof to your door is a couple of days, and you’ll pay a big whack for the postage. But if you don’t mind how long the proof takes to arrive (up to six weeks) it will cost only a few dollars.
Your book off sale for six weeks? (Sound of screaming.) Here’s my solution. Make a dummy book.
In my previous post, Catherine Ryan Howard advised you not to make a new edition when updating a book. I agree with her. But this dummy edition will not go on sale. You’ll use it to do the fine tuning, then transfer the files when you know they work.
You need to set it up with a new ISBN – but that doesn’t matter because you can use a free CS one. But you upload the new cover on that and order a copy. While it wends its sweet way to you via China and the International Space Station, the real book sits undisturbed and available. Once you’ve seen physical proof and are happy, you know you can upload the new cover in safety.
So… this means I have a special thingy to give away: the dummy book. I decided to have fun with it. Instead of loading it with the interior of the proper book, I created a notebook (which in my CS dashboard I called the Nail Your Novel Notebook of Surprises). The pages are numbered but blank, so you can scribble your ideas and workings but keep track of them with an index. And the surprise? Every 10 pages or so is a writing tip.
There’s only one, so this is an ultra-limited edition. It won’t be on sale as I can’t imagine anyone wanting to actually buy the thing, but it’s fun to be able to give it away. I’ll also throw in a copy of the original book with its old cover, for you to use or to pass on to a friend.
What do you have to do?
Share this post about my new cover, come back here and let me know you have, and I’ll hold a draw on Monday 8th July. One entry per place shared – so you get multiple goes if you spread the news on Twitter, Facebook, G+ or even the International Space Station. Just remember to note here if you shared on multiple platforms.
Oh, and you can find the new Nail Your Novel, with extra cover va-va-voom, on print and ebook outlets now
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Gosh, this is grown-up. After I gently pointed out to Writers & Artists that some self-publishers are as adept in print as in e-publishing, we got chatting. They were interested in my background (running an editorial department, writing, editing, book production and this blog!) and the result is I’m doing a series at Bloomsbury’s Writers & Artists site on fundamentals for good self-publishing.
This first piece is on turning an ebook file into a print edition. It’s an expanded version of a pair of posts I wrote when I released the paperback of My Memories of a Future Life, and hopefully a little more simplified for first-timers. If you want to know more about how to make lovely-looking books, come on over.
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How to self-publish an ebook and get a traditional book deal – guest spot on The Write Lines podcast
When I was first discovering blogs – and looking for a home for my own fiction – I discovered The Write Lines on BBC Radio Oxford. Presenter and novelist Sue Cook brought together experts from UK publishing to give advice, information and resources for new writers.
Fast forward through a few revolutions and the latest series (now a podcast) is exploring indie publishing – both as a leg-up to a traditional deal and a viable option in itself. Some of the authors whose blogs I was reading as the first series aired are her experts this time – including Nicola Morgan and Catherine Ryan Howard – and me. I feel like I’ve graduated. Exciting times…
In my episode I’m sharing a studio with indie superstars Mark Edwards (one half of the Edwards/Louise Voss partnership) and Mel Sherratt. You can either listen on the site or download….
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(If you’re not a Shamen fan, that headline will make no sense. Try saying it out loud. And admire your instant cockney accent.) Making the special print edition of my novel made me think how we still like a book we can get our hands around. Come over to Authors Electric where I’m trying to pinpoint what we love about dead tree books…
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- Ghostwriting 101, why I write and a brief blog hiatus November 12, 2015
- ‘An earworm of the heart’ – The Undercover Soundtrack, Katharine Grant November 11, 2015
- American English, British English, Canadian English… which to use for your book? November 8, 2015
- ‘Tearing open the doors of the heart’ – The Undercover Soundtrack, Michael Golding November 4, 2015
- The gallop draft: 5 smart tips for writing a useful draft at speed November 1, 2015
- ‘A cracked but steely song of survival and beauty’ – The Undercover Soundtrack, Philip Miller October 28, 2015
- Lesson learned from a critique group: ‘why’ is the magic question for storytellers October 25, 2015
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