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Jane Friedman's Blog: Jane Friedman, page 219
April 10, 2011
Best Tweets for Writers (week ending 4/8/11)
[image error]
I watch Twitter, so you don't have to. Visit each Sunday for the week's best Tweets.
If I missed a great Tweet, leave it in the comments.
Best of the Best
What Grabs Readers versus What Keeps
Them
@cerebralgrump
Thinking of self-e-publishing? 3 questions to ask first
@annerallen
Elements of a Successful Fiction Platform
@thewritermama
Getting Published + Agents/Editors
The signs of a good independent editor
@victoriamixon
Craft + Technique
Subtext: The Most Critical Tool in thePublishing News + Trends
Storyteller's Box
@BubbleCow
Description 911: Overexpressed Emotions
@elizabethscraig
How
Does Your Protagonist Change?
@Bob_Mayer
Download Blake Snyder's Save the Cat beatsheet
& other tools here
@jeannevb
Plotbot Streamlines Scriptwriting
@elizabethscraig
Agents
and other publishing old-timers weigh up @amanda_hocking's book deal
@dirtywhitecandy
It's official: putting books in stores is a subsidiary
right
@jafurtado
"It will be hard to find a public library 15 years
from now." New post from @MikeShatzkin
@DigiBookWorld
Marketing + Promotion
10 Buzz-Building Secrets Every WriterSelf-Publishing + E-Publishing
Should Know
@BDCWB
Potential tool for low-budget book trailer videos? Created this video on my iPad just
now in 12 minutes
@inkyelbows
How to Double Your Entry-Level Self-PublishingWriting Life + Fun
Learning Curve In About an Hour
@storyfix
Ebook Formatting with Ebookit, Book Baby, & Publish
Green (updated)
@selfpubreview
Print on Demand: CreateSpace or Lightning Source? Is
there a 3rd choice?
@JFbookman
How One Radio Reporter Ditched His
Equipment for an iPhone 4 [has lots of interesting ideas]
@draccah
The Periodic Table of Storytelling [very cool/fun]
@JaneFriedman
Looking for more?
Subscribe to my newsletter, 3 Happy Things.
Want to know about the best stuff I read each week?
Click here to subscribe
to my shared items.
Get Best Tweets for
Writers — Daily!
[image error]
April 8, 2011
Organizing a Writers Workshop: Pre-Publicity (Part 1)
[image error]
Today's guest post is by NO RULES regular Susan
Cushman, director of the 2011 Memphis Creative Nonfiction Workshop. Pictured above:
Three participants at the Yoknapatawpha Summer Writers Workshop in Oxford last June.
L to R: Karen Rasberry, Gretchen Hargroder and Oxana Ribacova.
--
Last November I was one of three co-directors for the 2010
Oxford Creative Nonfiction Conference, along with Neil
White and Kathy Rhodes.
The conference drew about 100 participants, and was manned by a staff of three co-directors,
a dozen or so volunteers, and a faculty of fifteen, including speakers, workshop leaders,
and panelists.
I could never have put on an event of that magnitude by myself.
One of the co-directors, Neil White, is author of In the Sanctuary of Outcasts,
and owner of Nautilus Publishing in Taylor, Mississippi, just south of Oxford. Neil
has lots of contacts in the writing and publishing world (and he's such a nice guy
that people just want to say "yes" to him), so he made most of the contacts with our
faculty and sponsors. And his wife teaches at the University of Mississippi, the location
for the conference, which was also helpful.
I'm saying all of this up front to set the stage for what it takes to organize a writers
workshop.
The difference in a conference and a workshop is that, while a conference may contain
workshops (as the CNF Conference did),
usually its main focus is on the presentations and panels, which are open to all participants.
A workshop, on the other hand, focuses primarily on manuscript critique, with presentations
and panels added to sweeten the pot. This 2-part series is about a WORKSHOP rather
than a CONFERENCE.
For this month's post, I'll focus on everything that must be done BEFORE publicizing
the workshop. (Come back next month for my post on how to publicize and promote a
writer's workshop.)
BUDGET
Yes, it has to be about the money, because you can't just offer an event like this
for free. I decided to limit the number of participants to 20, in order to give each
person's work 30 minutes of dedicated time during the manuscript critique sessions.
our budget will be $7,000. Sounds like a lot of money, until you map out the workshop
expenses, which include faculty, venue, housing, meals, social events and marketing/advertising.
Here's how it breaks down.
FACULTY EXPENSES
You'll need 4-6 faculty for the workshop. One to two will be manuscript critique leaders,
so they'll be expected to read and critique 10 manuscripts (up to 10 pages each) prior
to the workshop, and then lead two 2½-hour critique sessions during the weekend.
This is a lot of work, and usually the faculty recruited for this part of the workshop
are folks who teach creative writing. So, in addition to their travel, housing, and
meals, you'll want to pay them an honorarium. The other faculty will be doing "craft
talks" (presentations) and/or serving on panels, so their honorarium is a bit lower,
but you should still pay them what you can.
VENUE
I was hoping to hold this workshop in downtown Memphis, on the Trolley Line, near
the (Mississippi) River and Beale Street, to take advantage of the atmosphere that
downtown has to offer. But the downtown hotels were just too expensive.
Thankfully, I discovered the Fogelman Center at
the University of Memphis, which was reasonable, and also located near the Cooper
Young District, home of Memphis'
oldest independent bookstore and some really cool restaurants.
If you're planning a workshop without the benefit of support from an organization
or grant, it's important to find a venue that doesn't require up front money. That
way, you're not at personal risk of losing money if the workshop doesn't fill.
HOUSING
Again, the downtown hotels in cities like Memphis can be the deal-breaker for a small
workshop. You're already asking participants to spend $350 for the workshop, plus
travel and some of their meals, so you want to offer a deal on housing, right?
Check out your local university and see if they've got a hidden treasure like the
Fogelman Center, which is offering guest rooms for $85/night because of the meeting
space and meals we're procuring from them. (And these rooms have queen beds and free
wi-fi.)
MEALS
During a weekend workshop, meals can really add up. If you can roll some of those
meals into the workshop fee, it's all the more inviting. I was able to get a better
deal on the workshop meeting space by including two lunches and one breakfast into
the mix. An added value for workshop participants, too!
SOCIAL EVENTS
With Burke's Books nearby, I've scheduled a workshop faculty reading/signing event
on one of the evenings of the workshop, followed by dinner at a nearby restaurant.
Both evenings, the hospitality suite will be open back at the Fogelman Center, where
I'll offer complimentary drinks and snacks, and time to wind down and network with
faculty and fellow participants.
In Part 2, I'll address marketing and advertising. [Thanks so much to Jane Friedman
for allowing this guest post, which is a big part of that marketing!]
[image error]I
hope this inspires you to organize a writing workshop in your area. Feel
free to contact me if you have questions, and I'd love to hear your comments on
any writing workshops you've attended, or things you'd like to see included in workshops.
I'm all ears!
--
You can read Susan's
blog here, and follow her on Facebook or Twitter.
[image error]
Today's guest post is by NO RULES regular Susan
Cushman, director of the 2011 Memphis Creative Nonfiction Workshop. Pictured above:
Three participants at the Yoknapatawpha Summer Writers Workshop in Oxford last June.
L to R: Karen Rasberry, Gretchen Hargroder and Oxana Ribacova.
--
Last November I was one of three co-directors for the 2010
Oxford Creative Nonfiction Conference, along with Neil
White and Kathy Rhodes.
The conference drew about 100 participants, and was manned by a staff of three co-directors,
a dozen or so volunteers, and a faculty of fifteen, including speakers, workshop leaders,
and panelists.
I could never have put on an event of that magnitude by myself.
One of the co-directors, Neil White, is author of In the Sanctuary of Outcasts,
and owner of Nautilus Publishing in Taylor, Mississippi, just south of Oxford. Neil
has lots of contacts in the writing and publishing world (and he's such a nice guy
that people just want to say "yes" to him), so he made most of the contacts with our
faculty and sponsors. And his wife teaches at the University of Mississippi, the location
for the conference, which was also helpful.
I'm saying all of this up front to set the stage for what it takes to organize a writers
workshop.
The difference in a conference and a workshop is that, while a conference may contain
workshops (as the CNF Conference did),
usually its main focus is on the presentations and panels, which are open to all participants.
A workshop, on the other hand, focuses primarily on manuscript critique, with presentations
and panels added to sweeten the pot. This 2-part series is about a WORKSHOP rather
than a CONFERENCE.
For this month's post, I'll focus on everything that must be done BEFORE publicizing
the workshop. (Come back next month for my post on how to publicize and promote a
writer's workshop.)
BUDGET
Yes, it has to be about the money, because you can't just offer an event like this
for free. I decided to limit the number of participants to 20, in order to give each
person's work 30 minutes of dedicated time during the manuscript critique sessions.
20 people @ 30 minutes/each =Next, I set the workshop fee at $350/person. So, if we have 20 participants,
10 hours of manuscript critique sessions
our budget will be $7,000. Sounds like a lot of money, until you map out the workshop
expenses, which include faculty, venue, housing, meals, social events and marketing/advertising.
Here's how it breaks down.
FACULTY EXPENSES
You'll need 4-6 faculty for the workshop. One to two will be manuscript critique leaders,
so they'll be expected to read and critique 10 manuscripts (up to 10 pages each) prior
to the workshop, and then lead two 2½-hour critique sessions during the weekend.
This is a lot of work, and usually the faculty recruited for this part of the workshop
are folks who teach creative writing. So, in addition to their travel, housing, and
meals, you'll want to pay them an honorarium. The other faculty will be doing "craft
talks" (presentations) and/or serving on panels, so their honorarium is a bit lower,
but you should still pay them what you can.
VENUE
I was hoping to hold this workshop in downtown Memphis, on the Trolley Line, near
the (Mississippi) River and Beale Street, to take advantage of the atmosphere that
downtown has to offer. But the downtown hotels were just too expensive.
Thankfully, I discovered the Fogelman Center at
the University of Memphis, which was reasonable, and also located near the Cooper
Young District, home of Memphis'
oldest independent bookstore and some really cool restaurants.
If you're planning a workshop without the benefit of support from an organization
or grant, it's important to find a venue that doesn't require up front money. That
way, you're not at personal risk of losing money if the workshop doesn't fill.
HOUSING
Again, the downtown hotels in cities like Memphis can be the deal-breaker for a small
workshop. You're already asking participants to spend $350 for the workshop, plus
travel and some of their meals, so you want to offer a deal on housing, right?
Check out your local university and see if they've got a hidden treasure like the
Fogelman Center, which is offering guest rooms for $85/night because of the meeting
space and meals we're procuring from them. (And these rooms have queen beds and free
wi-fi.)
MEALS
During a weekend workshop, meals can really add up. If you can roll some of those
meals into the workshop fee, it's all the more inviting. I was able to get a better
deal on the workshop meeting space by including two lunches and one breakfast into
the mix. An added value for workshop participants, too!
SOCIAL EVENTS
With Burke's Books nearby, I've scheduled a workshop faculty reading/signing event
on one of the evenings of the workshop, followed by dinner at a nearby restaurant.
Both evenings, the hospitality suite will be open back at the Fogelman Center, where
I'll offer complimentary drinks and snacks, and time to wind down and network with
faculty and fellow participants.
In Part 2, I'll address marketing and advertising. [Thanks so much to Jane Friedman
for allowing this guest post, which is a big part of that marketing!]
[image error]I
hope this inspires you to organize a writing workshop in your area. Feel
free to contact me if you have questions, and I'd love to hear your comments on
any writing workshops you've attended, or things you'd like to see included in workshops.
I'm all ears!
--
You can read Susan's
blog here, and follow her on Facebook or Twitter.
[image error]
April 7, 2011
What's Your Most Embarrassing Moment As a Writer?
[image error]
Let's face it: We all make mistakes. But the best writers learn from them, rise above
them and even find ways to transform them into happy accidents.
What embarrassing moment have you overcome to become a better writer?
Here's a story about MY most embarrassing moment!
Whether your story is funny, humbling or an important lesson learned the hard way,
Writer's Digest wants to hear from you. Share your experience in 150 words or fewer
and e-mail it—along with your name, city and state—to writersdigest@fwmedia.com with
"Lessons Learned" in the subject line.
Your story could appear in a future issue of Writer's Digest. (All submissions will
be considered for publication and may be edited for clarity or space.)
Photo
credit: JW Gustavson
[image error]
Let's face it: We all make mistakes. But the best writers learn from them, rise above
them and even find ways to transform them into happy accidents.
What embarrassing moment have you overcome to become a better writer?
Here's a story about MY most embarrassing moment!
Whether your story is funny, humbling or an important lesson learned the hard way,
Writer's Digest wants to hear from you. Share your experience in 150 words or fewer
and e-mail it—along with your name, city and state—to writersdigest@fwmedia.com with
"Lessons Learned" in the subject line.
Your story could appear in a future issue of Writer's Digest. (All submissions will
be considered for publication and may be edited for clarity or space.)
Photo
credit: JW Gustavson
[image error]
April 6, 2011
Get Started With Your Own Website or Blog
[image error]>
If you're serious about your career as an author, you need a website. And the sooner
you get one going, the better.
Why?
The most important reason: There's a learning curve. You don't want to be scrambling
to put together a site when your book releases, or when you have an agent's interest,
or when someone asks why you don't have a site.
You also learn a tremendous amount about how the online world works, and what works
for YOU especially in finding your audience online. (I learn something new every week!)
This is a topic I'm passionate about, so you can find a range of past blog posts at
NO RULES covering multiple angles of site development and strategy. Here are some
of my favorites.
market & promote: What are the must-haves for my site? What should I put on it?
What purpose does it serve? Here are 4 things to get you started:
About/bio page. Impress and charm people with your writing skills here. It's
an opportunity to show off.
Hub for ALL online activity. Wherever you're active online, whether it's Facebook,
Twitter, GoodReads, etc, your homepage should be the central hub where people can
see EVERYTHING you're active in, and connect with you wherever they want.
Newsletter sign-up. I've covered this here and here.
Content. This might take the form of a blog. Or it could be a podcast or video
blog or something else entirely. If you're not sure what your "content" looks like, check
this post for ideas.
Other questions I frequently hear:
How do you make sure your website looks professional to people in the publishing industry?
How do you know whether to gear it toward agents, publishers, or readers?
What are the best (or easiest!) tools to use?
Who should I hire to help me? Can I do it on my own?
If you read every post on the topic at NO RULES, you'll get a good idea what all the
answers are. Or, if you want a full, interactive course on the subject, then all these
questions and more will be answered in a live class I'm teaching tomorrow: "The
5 Essential Components of a Strong Author Website."
The webinar is happening at 1 p.m. EST, and lasts 75 minutes. Keep in mind that you
do not have to make the live webinar to get the event. You can see the recorded webinar
online and communicate questions to me afterward. Sign
up here!
What you'll learn
If you don't have a site: How to get started easily, efficiently, and for very little
cost
If you do have a site: What elements you need to evaluate and possibly revise on a
monthly, quarterly, biannual, and annual basis
When you should hire a professional designer or site developer, and how much you can
expect to spend
The secrets of a strong "about" (or bio) page
What kind of information to make available for your books—or what to say if you're
unpublished
How and when to integrate social media onto your site
How and when to include an e-mail newsletter sign up
How and when to integrate a blog onto your site
What website plug-ins or features are most effective and helpful
How to start using Google Analytics, a critical tool for helping you understand how
people find and use your site
Hope to see you there! More
info and sign up here.
[image error]
If you're serious about your career as an author, you need a website. And the sooner
you get one going, the better.
Why?
The most important reason: There's a learning curve. You don't want to be scrambling
to put together a site when your book releases, or when you have an agent's interest,
or when someone asks why you don't have a site.
You also learn a tremendous amount about how the online world works, and what works
for YOU especially in finding your audience online. (I learn something new every week!)
This is a topic I'm passionate about, so you can find a range of past blog posts at
NO RULES covering multiple angles of site development and strategy. Here are some
of my favorites.
ShouldProbably the big question for any unpublished writer, with nothing to
You Hire Someone to Design Your Website?
A controversial post where I recommend that a writer in the early stages of their
online presence NOT invest in a designer.
5
Things That Make Me Stop Reading Websites/Blogs
The advice here is evergreen and will always apply.
How
Writers Can Start Blogging in a Meaningful Way
I offer 4 tips on approaches any writer can take.
What
Should Fiction Writers Blog About?
Often when I give blogging advice, the novelists all complain, "But that's great for
nonfiction writers. What about us?" This is my answer for them.
Managing
Multiple Identities Online—Avoid
Tackling another big question I get frequently, about pen names and/or managing different
audiences/relationships under the same site.
market & promote: What are the must-haves for my site? What should I put on it?
What purpose does it serve? Here are 4 things to get you started:
About/bio page. Impress and charm people with your writing skills here. It's
an opportunity to show off.
Hub for ALL online activity. Wherever you're active online, whether it's Facebook,
Twitter, GoodReads, etc, your homepage should be the central hub where people can
see EVERYTHING you're active in, and connect with you wherever they want.
Newsletter sign-up. I've covered this here and here.
Content. This might take the form of a blog. Or it could be a podcast or video
blog or something else entirely. If you're not sure what your "content" looks like, check
this post for ideas.
Other questions I frequently hear:
How do you make sure your website looks professional to people in the publishing industry?
How do you know whether to gear it toward agents, publishers, or readers?
What are the best (or easiest!) tools to use?
Who should I hire to help me? Can I do it on my own?
If you read every post on the topic at NO RULES, you'll get a good idea what all the
answers are. Or, if you want a full, interactive course on the subject, then all these
questions and more will be answered in a live class I'm teaching tomorrow: "The
5 Essential Components of a Strong Author Website."
The webinar is happening at 1 p.m. EST, and lasts 75 minutes. Keep in mind that you
do not have to make the live webinar to get the event. You can see the recorded webinar
online and communicate questions to me afterward. Sign
up here!
What you'll learn
If you don't have a site: How to get started easily, efficiently, and for very little
cost
If you do have a site: What elements you need to evaluate and possibly revise on a
monthly, quarterly, biannual, and annual basis
When you should hire a professional designer or site developer, and how much you can
expect to spend
The secrets of a strong "about" (or bio) page
What kind of information to make available for your books—or what to say if you're
unpublished
How and when to integrate social media onto your site
How and when to include an e-mail newsletter sign up
How and when to integrate a blog onto your site
What website plug-ins or features are most effective and helpful
How to start using Google Analytics, a critical tool for helping you understand how
people find and use your site
Hope to see you there! More
info and sign up here.
[image error]
April 5, 2011
3 Barriers You Must Eliminate to Maximize E-Book Sales
[image error]
You have to be where the people are: That's the first lesson I learned from releasing
my e-book.
To be sure, it's something I already knew—but the friction of any purchase is made
VERY obvious when readers encounter the following barriers.
3 Barriers You Must Eliminate to Maximize E-Book Sales
An unfamiliar site or retailer. This is especially true for sites where readers
have to create a new account. Readers will abandon the process if they feel irritated,
even if they really want to buy your book. Test the purchase process as a new customer
to see how easy it is to buy.
An unfamiliar format. Especially for e-books, there are a LOT of different
formats, and readers are inevitably confused about what formats are available, what
a particular format can do, why a particular format is best, and if that format will
work on the platform they need it to. (E.g., many people may not realize that a PDF
can be viewed on a Kindle, and may not know how to load a PDF on a Kindle.) You must
offer straightforward and comprehensive explanations of your book's format availability—and
what each format is appropriate for—whenever marketing your book.
Loyalty to a particular retailer, device, or format. If someone is already
invested in buying books for their Nook or Kindle or Sony reader, it's extremely unlikely
they will buy an e-book for a different device or from a different store. As a Kindle
user, this is indeed a big factor for me. If an e-book isn't available for Kindle,
I'm probably not buying it. I do make an exception for PDF documents, since I can
read those on my mobile device/laptop—or I can print them out.
Right now, Amazon Kindle accounts for at least 50% of e-book sales in the United States,
sometimes as much as 70%+ depending on the genre/category. Nook's (Barnes & Noble's)
percentage of the market is increasing considerably, and the other players share the
rest of the pie (e.g., Sony, Kobo, Apple, Google eBookstore).
My recommendation? Try to distribute your work across every possible device and format,
if it makes sense for your work. Start with Kindle,
then possibly use a multi-channel distributor such as Smashwords, FastPencil,
or BookBaby to get your work on other platforms
efficiently.
Photo credit:
hmobius
[image error]
You have to be where the people are: That's the first lesson I learned from releasing
my e-book.
To be sure, it's something I already knew—but the friction of any purchase is made
VERY obvious when readers encounter the following barriers.
3 Barriers You Must Eliminate to Maximize E-Book Sales
An unfamiliar site or retailer. This is especially true for sites where readers
have to create a new account. Readers will abandon the process if they feel irritated,
even if they really want to buy your book. Test the purchase process as a new customer
to see how easy it is to buy.
An unfamiliar format. Especially for e-books, there are a LOT of different
formats, and readers are inevitably confused about what formats are available, what
a particular format can do, why a particular format is best, and if that format will
work on the platform they need it to. (E.g., many people may not realize that a PDF
can be viewed on a Kindle, and may not know how to load a PDF on a Kindle.) You must
offer straightforward and comprehensive explanations of your book's format availability—and
what each format is appropriate for—whenever marketing your book.
Loyalty to a particular retailer, device, or format. If someone is already
invested in buying books for their Nook or Kindle or Sony reader, it's extremely unlikely
they will buy an e-book for a different device or from a different store. As a Kindle
user, this is indeed a big factor for me. If an e-book isn't available for Kindle,
I'm probably not buying it. I do make an exception for PDF documents, since I can
read those on my mobile device/laptop—or I can print them out.
Right now, Amazon Kindle accounts for at least 50% of e-book sales in the United States,
sometimes as much as 70%+ depending on the genre/category. Nook's (Barnes & Noble's)
percentage of the market is increasing considerably, and the other players share the
rest of the pie (e.g., Sony, Kobo, Apple, Google eBookstore).
My recommendation? Try to distribute your work across every possible device and format,
if it makes sense for your work. Start with Kindle,
then possibly use a multi-channel distributor such as Smashwords, FastPencil,
or BookBaby to get your work on other platforms
efficiently.
Photo credit:
hmobius
[image error]
April 4, 2011
Future of Publishing Round Up
[image error]
Okay, this is the last dedicated round-up (at least for a while) on the future of
publishing!
My
interview with Writer Unboxed on the future of publishing
My
interview with The Writer Mama on the future of publishing
Virtual
Davis summarizes Web response to my thoughts on the future of publishing
My
free e-newsletter covering the top 3 sources on the future of publishing
My e-book imagines 14 different futures of publishing. You
can read variations #1 and #3 for free here.
[image error]
April 3, 2011
Best Tweets for Writers (week ending 4/1/11)
[image error]
I watch Twitter, so you don't have to. Visit each Sunday for the week's best Tweets.
If I missed a great Tweet, leave it in the comments.
First, check out these live, online classes from Writer's Digest:
5
Essential Components of a Strong Author Website — presented by yours truly,
on April 7.
Best of the Best
How to Use Kickstarter to Fund a Self-Published
Book
@NathanBransford
Kurt Vonnegut story grids show how successful plots (from
Cinderella to disaster stories) work
@GalleyCat
More Eisler vs. Hocking. Lee Goldberg concludes: "There
isn't just one approach to publishing any more."
@glecharles
Craft + Technique
What onePublishing News + Trends
writer has learned from judging writing contests
@elizabethscraig
Amanda
Hocking explains the reasoning behind her publishing deal
@teleread
How publishers can and must add value in digital era from
@TheFutureBook
@twliterary
Smart commentary from @MarionManeker on challenges
of e-publishing
@twliterary
Marketing + Promotion
WhenBlogs + Social Media
Content Is Everywhere, Marketing Is Queen
@glecharles
The Anatomy of a Successful Ebook Giveaway
@BubbleCow
HowSelf-Publishing + E-Publishing
authors can make money from their web presence
@NathanBransford
The Unsexy Truth about Finding Traffic for Your Blog
@copyblogger
"No writer wants to hear that success couldWriting Life
take 12 years. But sometimes, that's how long it takes to get lucky."
@DanBlank
Does Your Ebook Need Its Own ISBN?
@KimsCraftBlog
Paying For Self-Publishing Help
@deanwesleysmith
Why your self-publishing service probably didn't
cheat you
@victoriastrauss
Top 8 Cover Design Tips for DIY Self-Publishers
@JFbookman
Great blogs for self-publishers
@JFbookman
Why Pen Names Suck & Can Make Us Crazy
@KristenLambTX
Celebrating Enigma (My First E-Book): A Round-Up
Tomorrow, everyone will be asking, "What's
your favorite variation?"
@JaneFriedman
Jane Friedman fans, are you sleeping? You could be
reading & laughing along w/Jane's Enigma Variations on the Future of Publishing
@thewritermama
"Paper books will become talismans, souvenirs, collectors'
items for paper sniffers" says Jane Friedman
@40kbooks
"The omnipresent Google, the omnipotent Amazon, and omnificent
Apple" = GAA(d) in future publishing.
@Porter_Anderson
Needless to say, @janefriedman is one of my heroes. love
this. Enigma
@booksquare
If you're a Writer or seriously ensconced in publishing, its ESSENTIAL that U follow
this lady --> @JaneFriedman **ALSO GET HER NEW BOOK!
@KolaBoof
Looking for more?
Want to know about the best stuff I read each week?
Click here to subscribe
to my shared items.
Get Best Tweets for
Writers — Daily!
[image error]
April 1, 2011
The Future of Publishing: Enigma Variations
[image error]
Today marks the long-anticipated release of The
Future of Publishing: Enigma Variations!
It
is now available as an e-book (PDF only) for $1.99. It's packed with 39 pages
of juicy predictions.
To get a taste of what's in store, read
this Q&A I did with Christina Katz on the future of publishing.
[image error]
70% of Books Used to Fend Off Zombies
[image error]
My predictions in The
Future of Publishing (which releases today!) leave no stone unturned. For
example, here is a graph illustrating what people of the future do with their old
books:
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Would you like more predictions? Check
out the 39-page book, just $1.99.
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March 31, 2011
The Future of Publishing: Enigma Variations
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Today marks the long-anticipated release of The
Future of Publishing: Enigma Variations!
It
is now available as an e-book (PDF only) for $1.99. It's packed with 39 pages
of juicy predictions.
To get a taste of what's in store, read
this Q&A I did with Christina Katz on the future of publishing.
[image error]
Today marks the long-anticipated release of The
Future of Publishing: Enigma Variations!
It
is now available as an e-book (PDF only) for $1.99. It's packed with 39 pages
of juicy predictions.
To get a taste of what's in store, read
this Q&A I did with Christina Katz on the future of publishing.
[image error]
Jane Friedman
The future of writing, publishing, and all media—as well as being human at electric speed.
- Jane Friedman's profile
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