Interviews


Jeremy Wright photoWe have often speculated that blog networks will play a key role in the future of publishing.  We decided to get an expert’s opinion and talk with Jeremy Wright, the CEO of b5 media.  ZDNet defines a blog network as “An organization that hires people to write blogs. It sells advertising and owns the blogs.”  With more than 290 blogs, 15 vertical channels and over 10 million unique visitors a month, b5mediais clearly one of the largest blog networks in operation today. 

Blog Marketing book coverJeremy Wright is a serial entrepreneur, some have even said a “blogpreneur” for his focus on communications-oriented ventures.  He is also the author of Blog Marketing, designed to help businesses figure out blogs, and use them to get into the conversation with their customers.  In addition to running b5media, he also writes the blog Ensight, a popular business and technology blog, and consults on blogging, communication, IT and time management.   

In our interview, Jeremy provided insights about the inner workings of blog networks and what he sees for the future of this nascent publishing medium.

FPP:  Technorati has indexed over 100 million blogs. Why do you think blogs have become such a powerful publishing medium?

Jeremy:  There are really 2 kinds of blogs (as far as I’m concerned): personal/family blogs and “professional” blogs. Personal blogs are really all about you telling your family how you’re doing, what you’re up to, etc.  In some ways, social networks like Facebook are starting to take the place of this kind of blog. But personal blogs are about expression, connecting with people you know and love, etc. For these kinds of blogs, this is the first time in history that we’ve been able to basically pen pal with everyone we care about, which is incredibly powerful. The second kind is “professional” blogs, which is really 2 camps: those who are blogging what they love and are good at (at least in part) so they can improve their career, establish new connections, network, establish themselves as thought leaders, etc. And the second kind are commercial properties which range from one guy writing about something to make money all the way to true blog-based content companies like b5media, Gawker Media and Know More Media.

FPP:  What is a blog network? Are blog networks like online newspapers or magazines, or do they represent a new type of media?

Jeremy:  In a lot of ways a blog network is like a magazine, just without the paper. Some networks, like Gawker Media, treat each blog as their own magazine (complete with editors, researchers, correspondents, etc). Others group blogs together and treat the whole as a magazine (this is how my company, b5media, does it). At the same time, they definitely represent a new form of media, as they really bridge the gap between mainstream media’s “we talk, you listen” metaphor and blogging’s “we talk, we listen” metaphor. It’s still commercial, but the best of these blogs (or magazines) are the ones that serve both metaphors: quality content, interactive conversation, by/for/with passionate people.

FPP:  Do blogs in a network intentionally reinforce each other with shared readership? Or do they operate as standalone media properties?

Jeremy:  The ability for a network to grow and establish a community of bloggers who are all passionate about similar topics (be it technology, business, entertainment or fashion) is really where the magic happens. Sharing strategies, linking to relevant stories across multiple blogs, drawing energy from the community… These are what make blogging at a healthy network so much more enjoyable than blogging on your own (which can often feel quite lonely). At the same time, the individual blog still has its audience to serve. So bloggers in a network are able to write for their audience, while drawing strength, inspiration and energy from the community.

FPP:  What do you believe are the key success factors for a blog network? Are there particular metrics you use to measure the effective of blog networks?

Jeremy:  The best metrics for any online company are the hard and fast ones: traffic, revenue and growth. But those don’t really speak to what it takes to achieve those key metrics. Each network motivates writers, chooses content areas and builds out the network differently. For us, we’ve always believed that if we keep writers happy, they’ll produce great content. And great content will mean more traffic. And with enough traffic it’s hard notto make money. So we focus a lot of energy on community and blogger happiness. We also regularly conduct surveys of our bloggers, our readers and our partners to see how we’re doing on the “soft” elements of success.

End of the day, a strong network has a strong editorial side with committed and energized writers, a solid business behind it, and talented folk to run technology, ad sales, marketing and admin areas.

FPP:  Many authors have successfully gone from blog to book. Do you think it is feasible for book publishers to set up blog networks to enhance and scale this process?

Jeremy:  That’s an interesting question. It’s not something I’ve seen yet, primarily because book publishers tend to exist to promote a book at launch, and then sit back and wait. The exception to this rule would probably be O’Reilly, which publishes a lot of information online, and encourages its authors to publish a lot of information online both pre and post-publication of the book. The idea of publishers getting into daily publishing is interesting, but it’s probably outside the DNA of all but the most technically-oriented publishers (where daily content is the norm). After all, if a publisher can’t do a weekly newsletter, can they really run 10-20 blogs, all with daily content?

FPP:  What services do blog networks typically provide the writers who work for them? What type of compensation models are currently used by blog networks?

Jeremy:  In terms of compensation, there are typically 3 types: revenue share (where the writer gets a percentage of the revenue the network earns), payment per post (often with a traffic bonus) and flat-fee (ie: like a contract writer would make). All 3 models work, though revenue share tends to put all the risk on the writer so is often used by networks when they’re starting out (to keep costs down). But, all 3 models can work. At b5media, we use a combination of flat-fee for meeting the writing requirements (which is kind of payment per post) along with a traffic bonus, though we’re currently evaluating new pay models. In terms of services, most networks really just ask writers to write and try and get them and their blogs exposure. I know at b5 we try and do as much as we can for our writers, ranging from free hosting for their personal blogs to training and from attempting to arrange press access for events to promoting the individual blogger in every way we can. It’s certainly one of the things writers should ask about before joining a network.

FPP:   What traits does a writer need to have to be effective in a blog network?

Jeremy:  I’ll defer to some of our most prolific writers on this, but in a recent training session, Leora Zellman and Mary Jo Manzanares said the most important things to have or develop were fantastic time management, to find your source of motivation daily and to both have your own quiet space and to reach out to other network writers so that you aren’t alone.

FPP:   Blog valuations and acquisitions have become hot topics recently. What factors does b5media take into consideration when evaluating a blog purchase?

Jeremy:  At b5media we have an internal engine we use to value a blog’s worth. We typically stay within range of that valuation when we acquire blogs, but sometimes there’s something that’s intrinsically more valuable than our model takes into account, so we don’t mind deviating. For us, traffic, revenue, unique visitors and subscribers are the key metrics. We’re able to gauge pretty successfully how well a blog will do over the long term with these metrics, so tend to stay pretty close to them. If it’s more of a strategic buy (we recently purchased a video platform company, for example, and are currently negotiating for a podcast network), then other factors may come into play that can bring the valuation up or down. As with any acquisition, you set your initial boundaries and then either go up or down based on strategic or external factors (such as a trend towards or away from text links, in the case of our most recent acquisition).

FPP:   Where would you like to see b5media in the next 3 years? Do you think book publishing is part of its future?

Jeremy:  While we might do a few e-books or encourage our authors to do books, I don’t think we’ll get into the book industry in a big way. I do see e-books as being a potential growth area, though. Beyond that, I’d like to see b5media move beyond the “blog network” box. We’ve started to do that a bit already by licensing our platform to Know More Media, doing ad repping, syndicating our content, etc. But we need to do more. I don’t want to get into specifics, largely because I believe talking before you have something to show is bad luck ;-) .

FPP:  How do you see blog networks evolving in the future?

Jeremy:  Well you’ll definitely see more consolidation and more partnerships. The last year has already seen a dozen or so of these (we’ve led 3-4 of them), but the pace will continue to quicken as the larger networks are able to grow traffic and revenue more quickly than the smaller ones, the larger ones will simply pick up small to medium sized networks because it’s cheaper than building blogs themselves. Beyond that, you’ll continue to see a meshing of blog networks with social networks (9rules and Instablogs have started to do this, and our gateway release at www.spekked.com will continue this trend over the next few months), and you’ll see more partnerships between blog networks and mainstream media networks (online and off).


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Lori Smith photoLori Smith has explored her passion for the life and work of Jane Austen, both literally and figuratively.  In July of 2005, she set off on a month long trip to England to follow the life of Jane Austen.  She describes the experience as “searching for a connection with the writer whose books (and the movies based on them) had become like literary comfort food to me.”  Lori is a freelance writer whose work has appeared in Washington Post Book World, Publishers Weekly , Washingtonian and Today’s Christian Woman.  She is also author of The Single Truth and creator of the popular literary blogs Following Austen and Jane Austen Quote of the Day.  She has now turned her blog musings into a book,  A Walk with Jane Austen: A Journey into Adventure, Love and Faith.   She recently shared another journey she has taken – this one from blog to book.

FPP – What interested you most about Jane Austen?

Lori – I had been reading her books since college, and felt very close to her (which many of her readers do, I’ve found, and which I can’t entirely explain). I had read the books over and over — they’re like literary comfort food to me — and when I felt like I had nowhere left to go, started reading biographies and her letters. I wanted to see the places she lived, the countryside she loved. The book grew out of a month-long journey following her life.

FPP – What do you think attracts modern readers to Jane Austen’s life and work?

jane austen portraitLori – She wrote very intelligent romances. The falling-in-love journey is an awful lot of fun on its own, but there’s so much more to Austen than that. We still recognize her characters today; the dialog is pitch-perfect. She had a wonderful wit and energy for life which comes through in the stories. But I also think the solid foundation of her stories is that character was so important to her — moral character. I think the real triumph for Austen — possibly more important than the romantic conclusions of her novels — is when her heroes and heroines are willing to recognize their faults and change. I think we’re drawn to their character, too, perhaps without realizing it.

FPP- What was the most unusual thing you learned about Jane Austen during your research into her life?

Lori - The fact that she had an opportunity to marry and chose not to. Harris Bigg-Wither, a dear friend of the family and heir to a great estate, proposed one night when Jane was visiting. She accepted the offer, apparently stayed up most of the night reconsidering, withdrew her acceptance in the morning, and left the house in disgrace. It would have been a nearly perfect match — except that there wasn’t love, and for Jane that would never do.

FPP- What inspired you to start your blogs?

Lori – I started Following Austen to begin to connect with readers, and start to build an audience for the book. The Jane Austen Quote of the Day I really started as a marketing tool. Of course, I love the quotes, and there were so many I wanted to share anyway, but I thought it would be a great way to reach the Austen fan base.

FPP- How would you characterize your blog readership?

Lori- I’m afraid I don’t know much about them, other than the fact that I assume they are die-hard Austen fans. I know that about half the daily syndication for the quote of the day is on LiveJournal, where it’s reproduced on people’s friends pages for others to read. I think that’s great.

FPP- How much of a role did your blogs play in the development of your book?

a walk with jane austen book coverLori- I really enjoyed getting initial pieces of the book out there and getting good feedback from readers. In the beginning stages, writing is such a lonely process that hearing from readers who loved it meant so much to me. It didn’t really affect the development of the book though, in terms of structure or how I wrote it, except perhaps that I learned to think of it in bite-sized pieces that would work on the blog. We ended up working it back into longer chapters, but I think that helped me tackle it initially.

FPP- Have you found your blog to be an effective marketing platform for your book?

Lori- Definitely. I’ve connected with a whole world of Austen bloggers, who’ve been enthusiastic about the book and in turn have blogged about it. It’s also given me a place to send people for excerpts and more information, and a kind of legitimacy. There are so many opportunities for online promotion now that are completely free, and a blog is central to that. I would recommend it to every writer.

FPP – What other things would you still like to know about Jane Austen?

Lori – Much of her life is hazy. She didn’t keep a journal, and her sister burned most of her letters. If I could talk to her, I’d ask her about writing — and about her faith, which she was hesitant to discuss. (She felt it was more important to live it than talk about it.)

FPP- Do you think if she were alive today, that Jane Austen would have a blog?

Lori – I don’t think so!  She was very private.  I think she would find the trend – and our celebrity-obsessed culture – full of fictional possibilities.

FPP – What is next for Lori Smith?

Lori- I’m not sure yet, but I’m guessing there will be another book — and another blog!


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Beth Whitman photoBlogs and social networks have grown in importance as marketing platforms, as the audiences they are able to aggreagte have grown.  Technorati is now tracking over 100 million blogs and comScore reports that social networks MySpace and Facebooknow have 68 million and 30 million members, respectively.  For authors, they are becoming essential readership building and book marketing tools.  We recently spoke with Beth Whitman, a popular travel writer, who is using blogs and social networks to help create and market her titles. 

Wanderlust & Lipstick book coverBeth Whitman is a self-described “travel addict” and has been a solo traveler for 20 years. She wrote her first book, Wanderlust and Lipstick: The Essential Guide for Women Traveling Solo in order to encourage and inspire other women to travel independently. She is the publisher of www.WanderlustAndLipstick.com and the travel blogger for the Seattle Post Intelligencer.  Beth has two books scheduled to be released in 2008: Wanderlust and Lipstick: For Women Traveling to India and Wanderlust and Lipstick: For Women Traveling with Children.

FPP - Your book focuses on tips for women traveling alone. Is this a relatively new area of travel writing?

Beth – It’s definitely not a new area of travel writing but it’s a growing category, for sure. There have been a few books out on the subject for a number of years but there seems to have been an explosion of interest in the topic during the last year or so.

FPP- How did you become interested in blogging?

Beth- I knew that I needed an online presence in order to build up my audience. By happenstance I landed a writing gig with the Seattle Post Intelligenceras their travel blogger and started blogging on my own site about six months prior to the release of my book.

FPP- How much of your content from your blog did you use in writing your book?

Beth - Not a lot for my solo book as a lot of the writing for the book had been done when I started blogging. However, I’m working on another book, For Women Traveling to Indiaand will be repurposing a lot of the content for both book and blog. In retrospect I should have done more of that for the original Solo book but didn’t.

FPP- What challenges did you have in converting blog content to book content?

Beth - I think the challenge is breaking down all the info from the book down into bite sized chunks that will hold a reader’s attention on a website. It’s got to be snappy and usually in bullet form so that can scroll through quickly.

FPP- What role does your blog play in marketing your book?

Beth- It plays a pretty big part. I am constantly working on building my community through my blog, newsletter and through social networking sites where I place links to my blog.  So far, I’ve driven traffic to my website and sold books through this online marketing campaign.

FPP – What role have social networks played in your book marketing campaign?

Beth – It’s becoming more and more significant as I learn the ropes. There are a lot of things to figure out and it takes time to build up your network. I’m just now starting to see it pay off and hope to have a good holiday season as a result!

FPP – How do you allocate your marketing effort between web based and traditional methods?

Beth - While I do market offline (I’m in the middle of a book tour right now), I spend more time marketing online. While both methods are time consuming, I’m starting to see the advantages of online marketing campaigns and social networking sites (especially since I don’t have to pay travel expenses for those methods!). I connect with other bloggers and other individuals with like interests (in my case, travel).

I think that down the road I’m going to see far more traffic going to my site and more people buying my book because of the online marketing that I’m doing. It’s just a matter of being focused on it, which, honestly, most authors aren’t.

FPP- What’s ahead for your writing and your blog, Wanderlust and Lipstick?

Beth- I’m working on books number 2 and 3 right now and continue to blog a few times a week on the Seattle Post Intelligencer site and my own site. I’m working on a book for women traveling to India and another for women traveling with children in which I’m collaborating with two co-authors. This time I will take a more thoughtful approach at adding content to my blogs that will be included in the book so that I can build up my audience prior to the book’s release in the spring of 2008.


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Cheryl HagedornIf you want to know what’s happening in the world of blooks (blogs that become books), Cheryl Hagedorn’s Blooking Central is your first stop.  She has provided insightful analysis and entertaining background on almost 200 blooks.  Cheryl is a former Salvation Army officer, computer programmer, and writing instructor for the Chicago Department of Aging and the Park Ridge Senior Center.  She has an MA in Writing from DePaul University and is a member of the Emily Dickinson International Society and the Illinois Philological Association.  Cheryl is the author of Park Ridge: A Senior Center Murdermystery as well as the online novel Gold Medal Murder

In this interview with Future Perfect Publishing, she shared her thoughts about the emergence of the blook as a new publishing path for authors.

FPP:  What first got you interested in blooks?

Cheryl:  The first mention of a blog being made into a book that I remember seeing was on The Chicago Writers Association forum. Dorien Grey reported that his A World Ago blog had attracted the attention of Zumaya Publications and had been scheduled for publication in September, 2008. I began researching the phenomena and was overwhelmed and incredibly intrigued by what I found.

FPP:  In your experience, what are the elements that are generally required to make a potential blook?

Cheryl:  In the first 30 or so blooks that I looked at, excluding web comics, it came down to three things:

  • Quality of the writing- many blook authors began as freelancers or columnists such as Lori Smith (A Walk with Jane Austen) and Tracey Henry (Suburban Diva).
  • High-level connections – Melinda Roberts (Mommy Confidential) is a member of John Battelle’s Federated Media Parenting and Entertainment Network. She is also an online community advisor to ClubMom, Johnson & Johnson, The Disney Internet Group, and MothersClick.com, where she is also a resident blogger.  Judith O’Reilly (Wife in the North), a former London Times writer got a deal after blogging only six weeks because she got linked to by “big” names.
  • Lots of traffic – David St. Lawrence (Danger Quicksand) gave away 50,000 free books. Okay, he self-published. Mim Smartypants had 3,000 regular readers. The Japanese fellow who wrote The Train Manhad a million readers. But it’s also the number of comments that indicate how engaged the readers are. Eunny Jang announced her book deal and got 173 comments!

FPP:  Early on it seemed that in many cases the blog to book path was not planned. Are authors getting more intentional about going from blog to print now?

michael shumateCheryl:  Absolutely. This years’ Blogher convention had a special session on how bloggers have used their Internet writing to publish books. Michael Shumate (Success in the Arts - see picture at right) admitted that he had posted with every intention of building an audience for the book. So did Noreen Braman (I’m 50 – Now What?). Both of those were self-published, but then you have Cheeseburger Brown’s Simon of Space. He posted in the hopes of attracting a deal and got one.  You still have authors who back into book deals, though. For instance, Dawn Meehan’s only interest was in selling a baseball on eBay but the short story she wrote to hype it pulled in 220,000 readers.

FPP:  What do you think is the best strategy for an author to approach an agent or publisher about a blook deal?

gina trapaniCheryl:  Gina Trapani (Lifehacker - see picture at right) has a link to her agent David Fugate of LaunchBooks. Fugate says, in essence, “Make sure the traffic is there, write a winning pitch/proposal, and don’t expect to just dump your blog onto paper.”

FPP:  Are publishers actively searching the blogosphere for new authors, or is it still a matter of authors who blog seeking out agents and publishers?

Cheryl:  Agents like Kate Lee, Elisabeth Weed, and Patrick Walsh, as well as the Waxman Literary Agency, for sure are actively looking for blookable blogs. The Friday Project specializes in publishing web content. Publishers don’t appear to be offering as much money, but they’re definitely looking for bloggers who can and do write for specific audiences.

FPP:  Can you estimate about how many blog to book deals are being done each year?

Cheryl:  How would you begin to make an estimate?! The Lulu Blooker Prize competition had 89 entries the first year, 110 the second. How many of those were traditionally published? I’ve looked at 190 blooks, only half of which came from the competition lists and maybe 1/3 of those have had book deals.  

FPP:  Do you see more fiction or non-fiction blooks being published these days? Why do you think that is the case?

ellen simonetti - queen of the skyCheryl:  One thing that has really surprised me is the number of non-fiction, memoir-type blogs that have been rendered as fiction, especially a book like Queen of Sky by Ellen Simonetti (see picture at right). I guess it’s an attempt not to be sued. Then there’s those authors that have mentioned the need to supply a story-line for the book version of their blogs, like Jeremy Blachman (Anonymous Lawyer) and the lady police officer, PC Bloggs (Diary of an On-Call Girl).

I don’t know whether more non-fiction blooks are being published than fiction, but I think that blooks probably reflect books in that regard.

FPP:  What categories of blooks seem to be the hottest right now?

Tom EvslinCheryl:  I honestly have no idea. You might be able to track it by pulling all the Publishers Marketplace deals that refer to blogs, like Gawker did, then sorting them into fiction and non-fiction. But that leaves out a huge number of blooks that are being self-published. You simply can’t discount them – consider the success of Tom Evslin’s Hackoff.com (see picture at right).

FPP:  Could you tell us briefly about the blog to book software that is available currently?

Cheryl:  There are several programs which are blog-specific. For instance, LJ Book only works with LiveJournal, DeadJournal or InsaneJournal blogs. Blog2Print from SharedBook only accepts Blogger blogs as input. Pyxlin, I think, will let you import other formats but is primarily for pyxlin users. Let’s see, there’s also Blurb’s Slurper, LAB Asprise’s BlogCollector, Prince, QOOP’s BlogPrinting, and PrintMyBlog.

Most authors follow Warren Meyer’s (Coyote Blog) lead – they reverse the order of blog posts, then cut and paste. Geeks like Gina Trapani can use things like DEVONthink Pro.

FPP:  What trends do you see in blooks in the next few years?

Cheryl:  Self-publishing is just now coming into its own. I think we’ll see more blog owners going that route, particularly with annual and semi-annual collections of posts like Vitualis’ Medical Rants. Best of Blogs-type blooks showed up too soon and it’s over. On the other hand, anthologies like Age of Conversation, which could have been a blook and wasn’t, or the Open Laboratory: The Best Writing on Science Blogs 2006which is currently gathering material for the 2007/2008 blook, are gathering momentum.

I’d be remiss if I didn’t mention that dead tree versions, which is how I define a blook at Blooking Central, are being accompanied by other versions, such as PDFs or podcasts, as well as being enhanced like BluBook or Carbondale After Blog.


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Scott SiglerNew authors have always faced the challenge of getting past the book publishing gatekeepers – agents and acquistion editors.  Scott Sigler found a new way into the castle.  Scott’s work revolves around modern science’s dichotomy of simultaneously producing good and evil.  It has been described as a ”steel-tipped boot on your throat, speed-metal fiction.”

Snubbed by publishers for years, Scott turned the traditional book publishing model on its head when he released EarthCore as the world’s first “podcast-only” novel.  Scott recorded EarthCore in 2005 in 22 episodes (roughly 45 minutes each) that subscribers downloaded.  He picked up 10,000 subscribers along the way.  His next podcast novel, Ancestor, drew 30,000 listeners and saw 700,000 episodes downloaded by fans. In combination with Scott’s other two podcast novels, Infection and The Rookie, his fans have downloaded over 3 million episodes of his fiction.

Ancestor bookcoverScott’s innovative use of technology puts him at the forefront of modern-day publishing.  He has been covered in the Washington Post, BusinessWeek, CNet, The Book Standard and the nationally syndicated radio show The Dragon Page.  He is a Michigan native, and lives in San Francisco with his wife Jody and their two dogs, Mookie and Emma.

We recently asked Scott about his experience with the podcast novel and the world of traditional book publishing.

FPP:  What gave you the idea to do EarthCore as a podcast novel initially?

Scott:  I discovered podcasting in February 2005. I immediately started looking for podcast novels, because the technology reminded me of radio plays of the 40s and 50s – serialized audio fiction. When I couldn’t find any novels, I realized it was because no one had done it yet. EARTHCORE was set to be published in 2002 by AOL/TimeWarner, but they scrapped the imprint a month or so before my book was printed. So I had a finished novel, edited by a major publishing house, just sitting there – I learned how to podcast and got the thing up as fast as I could, knowing there would be benefit to first-mover status.

FPP:  What were some of the logistical difficulties you had to overcome in recording and distributing the episodes?

Scott:  I knew nothing about recording, blogging, RSS, XML, etc. I had to figure it all out and figure it out fast.

FPP:  What is the process you go through in creating each episode?

Scott:  The novels are finished before I begin. I create a new episode from a template that already includes intros and outros. I record, stopping and going back when I screw something up. That way when I record the final word, I’m done with the spoken part. I then add sound effects and make sure I didn’t miss anything. Each character gets his or her own recording track, so I can run EQ separately for each. Then I rip down the MP3, post it with Podshow’s system, get the link, then post it into my WordPress blog.

Podshow’s system doesn’t do all the unique things I need for a podcast novel, so I use a WordPress blog and link to the Podshow files.

FPP:  Are there any limitations that podcasting a novel forces on you as an author?  Is there any challenge switching between writing mode and podcasting mode?

Scott:  It’s the same thing, and two completely different things. The story is where it’s at. The story doesn’t change. If you don’t have a great story, don’t even bother. The podcasting challenges are acting it out, and making sure it’s riveting to the audience. Don’t phone in the performance, strong acting with passion and energy is key – if you don’t care about the audio, why would your fans?

FPP:  How would you characterize your listening audience? Are there any differences between those who listen vs. those who read the book?

Scott:  My Junkies are the best audience on the planet, for any kind of entertainment, anywhere. They are rabid fans. They are my friends. My reading audience also likes my stuff, likes it a lot, but there is a significant connection between me and the listening audience. To my print readers, there is the story. To my podcast listeners, there is the story, then there is the author, and they get to know both very well.

FPP:  Were print publishers tracking your podcast downloads before you contacted them or was that something you had to make them aware of as you marketed your work?

Scott:  Print publishers don’t get this at all. I mean, AT ALL. This is all a mystery to them. Dragon Moon Press is a small publisher that completely understands. Crown Publishing is a major publisher, and what they understand is that I have rabid fans and I can hit Top-10 on Amazon selling an indie book with zero advertising, zero promotional support and zero media support.

Crown is smart enough to know they don’t need to understand every last nuance, they just need to know something works.

FPP:  Do you think the availability of podcasts has a positive, negative or neutral impact on sales of the print version of your books? Why?

Scott:  Positive, positive, positive. It’s free exposure and advertsing. Some people listen and still buy print. Some people listen and buy the book for people they know who like print. Some people listen and don’t buy, but they send a link to dozens of friends, and the process repeats itself. If you can try my fiction for free, wherever you like, whenever you like, and you’re deciding between my book and one that makes you go to the bookstore and shell out $24.95 just to give it a shot, which are you going to choose? I’m grabbing mental marketshare like there is no tomorrow. The podcast exposes me to thousands of people, where if I’m just on a bookshelf between KING and KOONTZ, I can’t possibly compete.

FPP:  Is there anything you would change about the way you did your earlier podcasts?

Scott:  Not really. Everything I do now I learned from those endeavors.

FPP:  Will you continue using podcasts as a way to connect with your audience for your future titles?

Scott:  I will always podcast. Crown is behind this 100%. I wouldn’t be anywhere without the Junkies, and I will continue to provide them high-grade stories as long as I live. Even after that, because I want to have a story “in the can” that people can listen to after I die. Just to fuck with their heads a little bit more.

FPP:  Do you see more authors using podcasts as a way to get the attention of publishers?

Scott:  I would say wait to see how INFECTED sells on April 1, 2008 If it’s a hit, if it charts in the New York Times Bestseller list, then the model is forever proven.

FPP:   Looking back  on your own experience, what advice would you give them?

Scott:  Use examples of people who have used podcasting to sell books. At the end of the day, publishers spend a load of money to produce, distribute and market books. If you can prove to them that you have an existing audience, they are more likely to take a chance on you.

information trapping - book coverAuthors (and bloggers) are always on the lookout for new tools to help them research their subject more effectively.  The Internet represents a potentially massive information resource, but finding, organizing and publishing the information you want in a coherent, systematic way can be a challenge.  Simple surfing has proven to be a time consuming and inefficient method for writers to get the informatino they need.  We recently interviewed Tara Calishain, one of the preeminent Internet research experts, about information traps.   Information traps are a collection of technologies that helps automate many information gathering tasks.

Tara CalishainTara Calishain is the creator of ResearchBuzz, an award winning website covering the world of Internet research.  She has written or co-written numerous books on search related topics, including Web Search Garage, the New York Times bestseller Google Hacks, the Official Netscape Guide to Internet Research and most recently, Information Trapping

FPP:  How would you define information trapping?

Tara:  I define information trapping as using alert services, RSS feeds, and similar services to bring updated content to you as it’s generated. Like the “push” technology we were all hearing about ten years ago, except that this time it works!  

FPP:  How did you first become interested in information trapping? 

Tara:  I have been interested in RSS feeds for over seven years, and for site monitoring an equally long time. I became interested in information trapping when I realized how much time it was saving me as I wrote ResearchBuzz. I have hundreds of traps I check daily for information on new search engines, databases, information collections, etc.

FPP:  What are the primary benefits of information trapping?

Tara:  It requires some time up front, but once set up information trapping will save you time. The information in which you’re interested will come to you. You will not have to go looking for it on a regular basis. And let’s face it — the Internet is so darn big you can easily get overwhelmed!

FPP:  What are some of the tools that an individual uses to trap information?

Tara:   Generally speaking, Web page change monitors and RSS feeds. Specifically speaking, Google News, Yahoo News, Yahoo Alerts, Web Site Watcher, YouTube, and basically any page or resource that either generates an RSS feed or outputs its data on a page that’s easy to monitor.

FPP:   How do you trap information about podcasts and videos?

Tara:  Depends on how specific your information needs are. If you’re looking for general information, like trapping for information on the Green Bay Packers, you might be able to find one or two (or several) Packers podcasts out there.  If you’re looking for more specific information (for Brett Favre) you might want to use a site that allows you to search podcasts by keyword, e.g. Everyzing.

FPP:  What hurdles is someone likely to encounter when they initially try to set up information traps?

Tara:  The first hurdle is probably being TOO general and ending up with a firehose full of information aimed straight at them. It’s not manageable and because of that it’s not useful. Being as specific as possible is the key. (The Green Bay Packers example earlier might be too specific – you would certainly have to be VERY picky about what you monitored.) The second hurdle is not doing research on the kind of keywords you want to use to monitor your topic. When setting information traps, experimenting with keywords is very important. You don’t want to end up with information that’s off-topic – or no information at all!

FPP:  Can you give an example of how a blogger might use information trapping?

Tara:  Sure. Say you’re a blogger who’s covering the Presidential elections, but you don’t want to cover the Republicans and Democrats. You want to cover all the “third party” candidates. Mainstream media will not be giving those people nearly as much coverage as the Ds and Rs, so you could set up traps across mainstream media, Web-based media, Washington-bloggers, etc to find news and information on those people. If they have Web sites you could set up page monitors to watch them for news and press releases.

FPP:  Are there some best practices for storing, organizing and cataloging the information you trap?

Tara:   Try to have a separate mailbox or folder for your trapped information. Don’t save too much if you can help it. Keep your cataloging process as simple as possible – as simple as a text file if you can manage it.  The more complicated your cataloging gets the tougher it’ll be to keep up with.

FPP:  Can you direct information you trap to mobile devices?

Tara:  Yes. Some sites offer alerts in the form of text messages for cell phones. And of course if your phone uses e-mail you can get your alerts that way. And if you have a phone that can have applications installed on it, you might want to see if that phone has an RSS feed reader available for it.

FPP:  How do you see information trapping tools and techniques evolving in the next few years?

Tara:  I think there’s going to be a lot more done with video and multimedia. We’re only just beginning to get beyond text-based and still image-based information online.

The New InfluencersSocial media has created quite a buzz in marketing circles.  Social networking sites like MySpace and Facebook are wildly popular and growing rapidly.  Blogs, podcasts and video sharing sites like YouTube have become part of the Internet mainstream.  Yet many authors and publishers are uncertain about how to leverage this new phenomenon for their marketing campaigns.  Paul Gillin, author of the bestselling book The New Influencers, agreed to share some of his thoughts about publishing and social media with us. 

Paul GillinPaul runs a consulting/freelance writing business specializing in new media..  He has been writing and speaking about information technology since the early ’80s.  Paul is an accomplished speaker and is known for his ability to demystify complex concepts and explain them in understandable terms.  His book combines historical perspective and the insight gained from 25 years of experience as a technology journalist.  As the many annecdotes and profiles in the book attest, he is an engaging storyteller with a briefcase full of fascinating accounts of the people and events that are shaping social media today.

FPP:  What does the term “social media” mean?

Paul:  I actually like Wikipedia’s definition: “Social media describes the online technologies and practices that people use to share content, opinions, insights, experiences, perspectives, and media themselves.”  Or as Lawrence Lessig of Stanford University terms it, “the writable Web.”  It’s new technology that enables people to publish for themselves and to comment on each other’s published work.  This can be highly individual or highly networked. The key component is that individuals now have the potential to publish to a global audience.

FPP:  What are the factors driving the rise of social media?

Paul:  There’s a whole appendix of my book devoted to that topic, but I’ll try to summarize.  The two major factors are technology developments and innovations in search  People have been able to input data through Web browsers since the early days, but the capability to capture, store and publish that information was limited.  With the rapid decline in hardware costs, services like photo and video sharing are now affordable.  Open source software has also made it inexpensive for people to experiment with new kinds of services. You no longer have to invest tens of thousands of dollars to put together a web server and a software stack.  Broadband has also reached the tipping point, with over half of all US households now using it and considerably higher percentages in some other countries.

Google is a big part of the phenomenon. Until Google came along, there really was no good way to reliably find information that was important to you. The early search engines just paled in comparison. Because Google figured out a way to index information by the quality of content, it became much more attractive for people to publish and hope to be found. Google also pioneered advertising models that made it possible for businesses to provide very powerful services for free. Adsense was a true innovation in business and its impact on the development of social media can’t be underestimated.

FPP:  Is the use of social media limited to a younger demographic? Is it a global phenomenon?

Paul:  It’s very much a global phenomenon. In fact, the number one language in the blogosphere is Japanese, according to Technorati. While young people are very comfortable with these media, I think the most interesting innovation is being done by grownups. The new influencers I wrote about are all adults who are passionate about topics and who use social media to become shakers and movers in those markets. I think adults and kids both appreciate the value of social media for finding like-minded people, but I think the adults especially value the power to have their voice heard where previously they were silent.

FPP:  How can book publishers and authors leverage social media to generate more interest in and sales of their titles?

Paul:  There are many ways. Blogging is all about expertise and sharing your expertise with other people. Book authors must develop expertise in their subjects, and they can generate awareness and conversations with other interested parties by publishing their insights on a blog. Increasingly, authors are publishing their books in this way. I published my entire book on my blog for the three months prior to submission to the editor. This not only generated useful feedback, but the bloggers who commented on my work became excellent prospects for reviews after the book was released.

When the book is in the market, a blog is a good way to expand upon the topic, publicize reaction and find potential buyers. People who are searching on the topic that the book is about are more likely to find the author and the title. I think any author should have a blog related to his or her book, at least in the non-fiction realm.

FPP:  What type of influencers should publishers tap into?

Paul:  People who care deeply about the topics addressed by their titles. These are the people who are most likely to read the book, write about it and generate word-of-mouth awareness.

FPP:  What practices should they avoid in their social media marketing campaigns?

Paul:  Never lie or deceive.  Don’t be overtly promotional.  Social media practitioners, whether they be bloggers, podcasters or online video producers, want substantive content to work with.  They want access to the author and the author’s sources.  If you just send them press releases, they will react negatively. You need to follow up and engage them with the author and the publisher.  Don’t treat them like second-class citizens.  Bloggers should be afforded the same courtesy as mainstream media.  If you excerpt and link to their work, you should publish the bad as well as the good. That shows that you are honest about the outreach effort.

FPP:  How does search marketing relate to social media marketing?

PaulSearch marketing is about raising awareness for your content by making it easier for search engines to find it. That can be done through “organic” search optimization or through paid results placement.  Social media vehicles tend to do very well in search engines for a variety of reasons.  This is another reason why a blog is a good way to publicize a title. You have a higher probability of being found by a search engine if you are providing useful content than if you are simply listing the book on a catalog site.

FPP:  How can publishers and authors measure their influence in the world of social media?

Paul:  Use conventional analytical tools like Google Analytics and traffic logs to get a view of how many people are coming to your site.  Register on Technorati.  Its rankings of blogger popularity are controversial, but they are also the metric bloggers use most often.  Check referral reports to see how much traffic is coming to a book site or sales landing page from your blog or from mentions on other bloggers’ sites.  Look at how much commenting activity your own posts are generating.  There are other things you can do, but those are some of the most immediate opportunities.

FPP:  What trends do you see in social media marketing during the next few years?

Paul:  Experimentation. There is some panic about social media in the marketing world right now.  People think it’s the thing to do, and that you’re going to be left behind if you don’t get your plan together quickly.  In fact, no one has figured out social media marketing.  Everyone is just experimenting, and the successes still don’t fit any particular formula.  There are a few best practices emerging, but we are still in the first inning of this game. That said, I don’t advise waiting on the sidelines.  The earlier you get started, the faster you will realize the substantial benefits and low costs of social media marketing. The good news is that right now it’s a very forgiving environment.  People are making lots of mistakes but no one is particularly upset about it.  The costs are still low and the audience realizes that everyone is still feeling their way around.  So take advantage of that, take some chances and learn from your successes and your failures.  Few people are going to remember your failures five years from now, anyway.

Personal publishing in the form of blogs, podcast and online video is becoming fairly well established.  I think the most interesting developments right now are in the social networks like Facebook and Flickr.  This is where people gather around communities of interest and the power of recommendation and grass-roots organization take hold. It’s hard to organize people around a blog, but with a social network you can do some very interesting things.  I think it’s impossible to predict five years out at this point with any kind of certainty.  I do think that over the next two years you’ll see a lot of experimentation in social networks.
 

Marketing is always a challenge for self published authors and small publishers.   There are many channels and venues to consider and usually a very limited budget with which to address them.  We recently interviewed Sue Collier, one of the experts in this field, to get her thoughts and advice about how to tackle the book marketing maze. 

Sue CollierSue has been working with authors and small presses for more than two decades. She is the current owner of Self-Publishing Resources, which was originally founded by self-publishing guru Marilyn Ross and provides authors and small presses with full-service book packaging and book marketing/consulting services.  

FPP:  There so many different ways to market a book. What factors should an author or publisher take into account when developing their marketing plan?

Sue:  Authors/publishers need to focus on nontraditional and niche markets. They should consider both before even starting work on the manuscript.

FPP:  What are the most important things an author publisher should do to promote a new book?

Sue:  The very first thing is choosing one’s subject matter carefully. This goes back to niche markets — there should be one, two, three, or even four specific niche markets for the book that can be targeted in marketing efforts. Also important is awareness of the whole issue of publication dates. In order for authors/publishers to take advantage of prepublication reviews and essentially making a “big splash” with prepublication publicity, publication dates should occur well after books are in hand. Additionally, authors/publishers should never quit marketing their books. For instance, The Complete Guide to Self-Publishing by Marilyn Ross (my partner at Self-Publishing Resources) originally came out in 1979. Subsequent revisions of the book ensure that marketing efforts continue to this day.

FPP:   What are some common mistakes self published authors make in their marketing efforts?

Sue:  Not choosing the proper publication date for their books (see above). Appearing “self-published” is another error many self-published authors make. In this day and age, there is simply no reason for this. Authors should do their research ahead of time, put out a quality product, and choose a professional-sounding publishing company name. They shouldn’t lie about being self-published, but they should present a product and business front as though they are a small press. Another mistake is not having a full arsenal of promotional/publicity pieces.  At Self-Publishing Resources, we provide authors/publishers with a news release (targeting specific niche markets), mock review, customer order flyer, pitch letter, spec sheet for the trade, and other pieces that can be used for a variety of PR/marketing purposes.

FPP:  How has the web changed the strategies and tactics used in book publicity?

Sue:  It has expanded publicity options tremendously — this once again goes back to finding niche markets for your book. Websites, blogs, chat rooms, forums — all of those provide ways for the self-published author to penetrate niche markets effectively.

FPP:  Are blogs effective book marketing platforms, and if so, why?

Sue:  Not necessarily one’s own blog — unless the author/publisher has a tremendous amount of time or the staff to continually update and offer readers a lot of value. Otherwise, it might not be worth the time. But the blogs of other’s can be used selectively. There are many blogs out there that are very effective, given a good audience and timely information. Some are excellent and a source people look to daily for information in a particular subject area. Authors/publishers need to spend time researching what blogs might be appropriate. There can also be affordable advertising on some blogs; this is another possibility to consider.

FPP:  What are some other examples of cost effective online marketing publishers and authors can use?

Sue:  At Self-Publishing Resources, we put together a spreadsheet for our clients that identifies sites offering possibilities for selling books, reviewing books, listing articles/book exerpts, as well as interviews, podcasts, blogs, and so forth. This information can be worked in various ways, the majority of which cost nothing to the author/publisher.

FPP:  How can authors and publishers effectively blend their online and traditional book marketing?

Sue:  Put your URL everywhere — not just in the traditional places, such as your business card. For instance, it should be on your book and every other promotional piece, and you should mention it if you are giving a radio interview. And have a top-notch website.

FPP:  There has been a lot of buzz about social media sites lately – e.g. MySpace, Facebook, Digg, YouTube. How can authors and publishers use these new social media sites in their book marketing campaigns?

Sue:  In my opinion, these fall into the same category as blogs, and should be fairly low on the marketing priority list at this point.

FPP:  What emerging trends do you see in book marketing?

Sue:  Interactivity – communication between the author and readers – on the Internet will be huge. Amazon.com has started to utilize this tool to some extent. Authors/publishers will also want to come up with ways to use their websites as a tool for interactivity.  E-books is another area, that although it is still lagging, will likely continue to gain popularity. Authors/publishers should be sure to have their books available as an e-book, especially business books and others that might have obsolence.

You can reach Sue at sue@SelfPublishingResources.com.

While podcasting is still a relatively young medium, podcast listenership is growing steadily.  According to a recent forecast from e-Marketer, advertisers  will spend $240 million on embedded podcast advertising in 2008 and $400 million by 2011.  One of the hottest podcasts today is Grammar Girl, produced by Mignon Fogarty.

Mignon FogartyMignon Fogarty is the founder of the Quick and Dirty Tips podcast network and the host of the award-winning Grammar Girl podcast.  Mignon earned a B.A. in English from the University of Washington and an M.S. in biology from Stanford University. She was the top editor at multiple websites in the late ’90s, and worked as a science and technical writer before becoming Grammar Girl in 2006.

Mignon took time out for an interview with Future Perfect Publishing recently to discuss what makes Grammar Girl such a strong franchise, how she produces and manages episdoes, and what’s ahead for her popular show. 

FPP:  Were you always interested in grammar?

Mignon:  I bought all the popular grammar books as they came out over the years, but I can’t say I was always a grammar fanatic. I do love working on it now though; it’s fascinating.

FPP:  What inspired you to start the Grammar Girl podcast?

Mignon:  I was working as a science and technical writer back in 2005 and ended up starting a weekly podcast about science. That show did well – it won the Best Science Show category of the Podcast Peer Awards – but it became a huge drain on my time.  Each show took at least 10 hours to produce, and although the traffic probably put the show in the top 20% of all podcasts, it clearly wasn’t ever going to become my main source of income.

So I began to think about other ways I could stay in podcasting without it being such a time sink.  I came up with six or seven ideas for short tip-based shows, and as I was editing technical documents one day at the coffee shop, looking at grammar error after grammar error, I was finally inspired to choose grammar as the theme.  I scribbled down about four possible episode topics, threw up a website, and recorded the first Grammar Girl podcast..

FPP:  Grammar Girl is one of the most popular podcasts now.  Grammar seems like an unlikely topic to have such wide appeal. To what do you attribute its popularity?

Mignon:  I know what you mean; I was surprised by the popularity too.

The messages I receive from listeners and the interactions I have with people in general have led me to a few conclusions. First, there is a bigger population of language lovers than you might imagine.

Second, everyone seems to have a language question they’ve always wondered about but never bothered to investigate. I get a lot of e-mail messages that start out “I’ve always wondered . . .”

Third, because of e-mail and instant messaging, I believe people are writing more now than in previous years.  Whereas 20 years ago people would pick up a phone and call a business contact, today it’s more common to write an e-mail message. Schools don’t spend a lot of time on language rules, so people feel insecure about their writing.  When they see that there is an easy, fun way to learn the practical little rules, they get excited.

FPP:  What’s the makeup of your audience and why are they so interested in grammar?

Mignon:  Based on surveys I’ve done, my audience is about half male and half female. Listeners tend to be highly educated, have good incomes, and range in age from 25 to 45.

In general, the people I hear from say the show helps them do better at work or at school.

FPP:  Before you began podcasting, you were a writer.  What things did you have to learn when you made the transition to audio and first began podcasting?

Mignon:  I didn’t know anything about audio production or writing for audio when I first started, so I had a lot of learning to do. I had to learn what kind of equipment and software to use and then how to use it. I picked up everything I know from reading websites and forums and from experimenting. That’s probably why it took me so long to produce the science podcast!

FPP:  What made you choose audio vs. print as your format to teach people about grammar?

Mignon:  I was already committed to doing an audio show, so it was really more a matter of choosing grammar as a topic than choosing a format for teaching grammar.

Grammar Girl’s audiobookFPP:  You’ve created a new audiobook “Grammar Girl’s Quick and Dirty Tips.” Are you considering a print version as well?

Mignon:  I’m working on a print book that should come out in time for the back-to-school season next year.

FPP:  What is involved in putting an episode together and what is your time commitment on a weekly basis to the show?

Mignon:  First I choose a topic. The topics almost always come from listener questions, and when it’s possible I like to tie the show to a current event.  For example, when Hillary Clinton picked “You and I” for her campaign song, I used that as a jumping off point to talk about the phrase “between you and I,” which a lot of listeners had asked about.

Once I have the topic I do a lot of research. I have about 20 reference books and I also do Internet searches. Even if I think I know the answer, I check as many references as I can to make sure I’m not missing something.  Depending on how complicated the topic is, research can go quickly or it can take many hours. More than once I’ve abandoned a topic after hours of research because it ends up feeling too complicated to cover in a five-minute podcast.

Once I’m comfortable with what I want to say, I write my script and then send it to a copy editor for review. Sometimes when I get the script back there is some back-and-forth with the copy editor about minor points of grammar. And when the script is done I record the show.

I’d like to get ahead, but I’m not; so right now I tend to work right up to the Thursday night deadline. So depending on how late it is, I either send my audio file to my sound guy for editing or (if it is too late) I edit it and post it myself.

I’d say the whole process takes 8 hours for a very easy show and 20 hours for a very complicated show or when I have to abandon a topic and start over.

FPP:  What has worked well and what things have you had to change during the life of Grammar Girl?

Mignon:  When I was just starting out I didn’t always put references on the website. I put up references now because I found that doing so heads off criticism from people who think they know the rules but are misinformed.  I found that if I didn’t post my references, I would often end up going back and citing them anyway to defend my position.

FPP:  How do you measure the success of your podcast?

Mignon:  I track audio file downloads, web page views, rankings, and listener questions, and all of those metrics would support the idea that the podcast is successful, but for me personally it’s the listener feedback that makes me feel as if the show is successful.  For example, Grammar Girl is one of the most reviewed podcasts at iTunes; people seem to like the show so much that they spontaneously take the time to write reviews, and I’m very moved by that.

FPP:  How does Grammar Girl earn money?  Has it become easier to attract advertisers?

Mignon:  I make money primarily by having advertising in the podcast, and it has definitely been easier over time to attract advertisers. Not only has Grammar Girl become more well known over the last year, but advertisers are also becoming more comfortable with podcasting.

I also released an audiobook in March that’s done very well. It was originally available as a download from iTunes and Audible, and it came out on CD in July. The title is Grammar Girl’s Quick and Dirty Tips to Clean Up Your Writing.

FPP:  Has the rapid growth in your listening population changed the way you do your podcast and handle your interactions with your audience?

Mignon:  The rapid growth was overwhelming at first because I was still working as a technical writer.  At first I tried to personally answer every listener question, but I get a lot of long, complicated grammar questions and answering them all quickly became impossible.

I started keeping a handwritten list of questions, which became a Word document with questions, which finally became a spreadsheet that I use to organize questions in a way that makes it easy to find topics I want to use for the show.

I was able to quit working as a technical writer in January to focus on podcasting full time, and it became more manageable after that. I still can’t answer every question personally, but I do try to answer as many as I can.

FPP:  What’s in store for the future of Grammar Girl?

Mignon:  My top priority is still putting out a new Grammar Girl episode every week. I’m just plugging through listener questions.

You might recall that I said I just threw up the original Grammar Girl website, so it’s not a surprise that it isn’t very pretty or user-friendly.  So I’m working on redesigning the website to make it easier to use and search. That should be done in September.  As I said, there is the print book that will come out next year, and of course, I’m always working on growing the Quick and Dirty Tips podcast network.

COS logoBook videos have generated a lot of excitement among authors, publishers and booksellers.  They represent a  powerful new way to visualize and conceptualize a title – much as the book cover did in the last century.  The aesthetics of book videos are still the subject of experimentation.  One of the pioneers in producing book videos is Circle of Seven Productions, which trademarked the term”book trailers.”  We contacted the company to find out more about how book videos are produced, what they cost and how authors, publishers and booksellers are using them. 

sheila clover englisWe interviewed Sheila Clover English, a publicist and the CEO of Circle of Seven Productions.  A five-year veteran as an Executive Producer of award winning book commercials,  she is best known for bringing book commercial distribution to movie theaters, television, cable and an online network of approximately 150 sites.  An author herself, Sheila strives to provide budget-conscious, high-profile marketing strategies to other authors and publishers.  She lives in Kentucky with her husband, daughter, son, and three dogs.

FPP:  Are there different types of book videos?  How is each type of book video used?

Sheila:  Circle of Seven (COS) offers several types of book video that can accommodate different budgets.  For example, below is a brief synopsis of our current products from least expensive to most expensive.  (Click on the links to see a sample of each type of book video.)

  

Cover Story Video
$ 250
Utilizes the book cover and, if you have it, the step-back. It includes music and text and comes with distribution of 10 online sites, submission to booksellers and book clubs, is featured on the COS MySpace page (which currently has over 8200 subscribers), our newsletter and placement on Reader’s Entertainment online television.
                
Fast Track Trailer
(summer special)
$ 390
Looks like a mini teaser with stock photos, text and music, but the author writes the script, chooses the photos and the music. The author does part of the work and gets a discount. They receive the same distribution as the Cover Story Video.
               
Mini Teaser Level 1
$ 750
COS finds the photos appropriate to the script that we write and submit to the client for approval. We find the music and submit it all. We do all of the research and creative for the client. The distribution package includes more online distribution at this level.
               
Mini Teaser Level 2
$ 1,500
These and the book trailers are the most popular with readers and booksellers. COS utilizes stock footage as well as stock photos. Clients get a script and music and a more dynamic video. The result is a video that looks somewhat like a book trailer, but much less expensive.
                
Author Interviews
$ 1,500
These bring authors “up close and personal” as they talk about their books. Great to give to booksellers.
                  
Book Trailer Level 1
$ 4,000 – $ 9,000
These are full production videos. They have actors, locations and everything that goes with it. When you consider that a TV commercial can cost upwards of $100,000, this is a great deal. There is significantly more distribution at this level. Other options can be purchased at this level as well, such as behind the scenes articles, photography, etc. This is shot on digital video with professional cameras.
                 
Book Trailer Level 2
$ 10,000 – $ 50,000 +
At this level we can do HD and Film, give you special effects, add more actors or locations and do a top quality commercial that looks like film.
          

COS also offers format and book media for both television and movie theaters.

FPP:  Are there certain genres or types of books that lend themselves better to book videos than others?

Sheila:  We recently asked that question in a survey. The majority of people felt that any genre would work, but many felt that romance and fantasy were the top genres that did well. I think that has to do with the incredible number of those genres making or having book trailers made.

FPP:  Many authors and small publishers have the perception that book videos are too expensive for them to consider. What is the cost range for Book videos and what are the tradeoffs a publisher has to consider when determining how much to spend on a book video?

Sheila:  The range, as listed above, is from $250 to $50,000+. You need to ask yourself who your target audience is. What will they want to see?  Will it play on television or in movie theaters?  Also you need to consider distribution. Booksellers prefer to see action in the videos, movement.

FPP:  How long does it typically take to produce a book video?

Sheila:  It depends on the complexity of the video.  A Cover Story Video can be done in 48 to 73 hours. A full production book trailer needs at least 2 or 3 months to put together as a rule. Other variables have to do with producer availability. We have a production partner network so that we can do several projects at a time.

It is best to book your spot on our production calendar as far in advance as possible. We have people booking for 2008 and 2009 already. If we know if advance that we’re going to be busy, we can bring in new team members to assist us in creating the videos and keeping to our timelines.

FPP:  How are publishers and authors using book videos to market their titles?

Sheila:  Book videos are tools like any other tool.  If it just sits on your website it’s a waste of money. You need to utilize it. Authors are putting it on websites, blogs and their MySpace pages. Their publishers are showing it to their sales team, sending it to booksellers or their marketing departments.  COS Productions uploads it to the internet, then does a big campaign on our MySpace during the first week the book is out.  We often format them and put them on television or in movie theaters.

COS Productions is constantly identifying new ways to utilize the videos so you get the use of this entertaining tool.  Usually, when an ARC goes out to booksellers and reviewers they list the marketing and promotion that will done with a book. It lets the bookseller know how much information about the book is getting to readers so they can order accordingly. It’s great to put “Extensive Online Marketing” and “Book Video” or even “Television Ads”. We can get TV ads with good spots for less than $2000. Sometimes just being able to say that it is playing on television will encourage someone to check out your book.

FPP:  How have booksellers responded to book videos? How are they using them to sell more books?

Sheila:  Yes, booksellers have responded to book video. Borders has been using COS videos since 2002. They currently take a large percentage of our videos as content for their site. They play it in their newsletter or on their Borders Media site.

Recently we were contacted by Barnes and Noble and we now supply them with our book video as well.  We’ve been thrilled with the number of independent booksellers who have contacted us to ask for video.  In addition many specialty sites ask for the videos as content because they are entertaining and readers like to watch them.

I see a trend toward having them on blogs to allow people to talk about the videos and be more interactive with them.  Douglas Clegg’s new book video is a wonderful example.  We did a campaign for him that included publicity and we did a big blog campaign. Within 24 hours of posting the video and instructions for bloggers on how to use the video and what to do with it we had over 20 people blogging about his video. Which means that over 20 people within 24 hours were promoting his book for him. We expect to see approximately 100 bloggers talking about this video by Saturday (5 days time).  We’re in touch with Amazon.com right now and they are also working on their technology so that they can easily offer book video.

FPP:  Do booksellers have any specific requirements for book videos submitted to them?

Sheila:  Yes. They don’t want them to be overly long.  They need to be tasteful (no nudity or overt violence).  We have a program in place for booksellers who use COS video that works very well. We actually send out book video in batches each week. Booksellers get a preview. We do accept feedback and have made changes to some videos if the booksellers ask for it and the client agrees to the changes. We supply the booksellers the videos in the format they require. We try to make it very easy for booksellers to take the videos so that more of them are utilized.

FPP:  Where should authors or publishers distribute and promote their book videos?

Sheila:  What good is a tool left in the shed?  Having the video created is only half the work. You need people to see it. You need a lot of people to see it. More importantly, you need the right people to see it.  We have a distribution department that not only distributes our videos, but they also do research on the various online social networks, specialty sites and other online opportunity sites out there.

The landscape of any social site can change. We make sure we monitor what’s going on, who is there and what they like on each site.  You can do that yourself. It just takes time. There are over 240 social sites on the internet that take user-generated video. That’s a lot of opportunity.

FPP:  Is there evidence to show that book videos lead to greater awareness of titles and more book sales? Are there ways for publishers to test the sales effectiveness of their book videos?

Sheila:  How are publishers testing the effectiveness of a print ad? And of course a print ad is gone in a week or a month. Book video is around until you take it off the internet.

We have worked with individuals who track their sales through the Amazon affiliate program. They put the Amazon “buy” button next their video to see how many people are buying after watching the video. Even this isn’t an exact science since some people will go to another vendor, or they don’t have the money to buy that day, etc. Two of our sources reported an average of 10% click through to buy after watching the video. That number continues to grow.

Over 75% of those polled in a recent survey of readers said that book video influenced their purchase of a book. The number of people being influenced to buy a book because of video continues to grow as more and more people turn to the internet for entertainment and information.

FPP:  How do you see the book video evolving over the next few years?

Sheila:  What did the music video do for CD sales?  More and more people will turn to book video because it is easier and more entertaining than going to a bookstore and looking at the intimidating number of books there that they will have to read the back cover copy of in order to make their buying decisions. Perhaps traditional readers will continue to shop this way, but the readers of the future are looking to video, just as they have learned to do for television, music, movies and games. We are now cultivating tomorrow’s readers today. We are now competing, not with each other, but with those other entertainment venues.

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