Month: December 2011

This one may be a bit of a no-brainer, but I want this series to be as comprehensive as possible, and there is perhaps no bigger tool in the kit of an Insurgent Creative writer than Amazon’s Kindle Direct Publishing (formerly the Digital Text Platform).

KDP is the platform by which rights-holders — whether publishers or independent creators — can upload their books to be sold in the Kindle format on Amazon.com. Given that Kindle sales represent approximately 60-70% of all eBook revenues (depending on who is reporting the analysis), it is absolutely crucial for any Insurgent Creative writer to get their material available there.

Creators can upload their books in any number of formats, to be converted by KDP into Amazon’s proprietary Kindle format. Certain files have a better success rate for conversion — I’d recommend (as does KDP) the MOBI format, which is identical to the Kindle format, minus the added DRM. Files uploaded as MOBI files have a shorter journey to make in conversion, and will have the most success. If you follow the directions provided in David Hewson’s “Writing a Novel With Scrivener”, which I discussed in this entry, you’ll be able to generate a MOBI file with ease — in addition, KDP provides extensive tutorials and FAQs via the Kindle Publishing Guide on the site.

Once you’ve uploaded the file, you enter the title information — author, publisher, publication date, ISBN. A quick note on ISBNs — I’d recommend purchasing a block of ISBNs for your work (they’re available via Bowker Identification Services). Yes, they’re expensive, and yes, Amazon lists an ISBN as “optional” in the KDP process. The reason for this is because if you don’t have one, Amazon will generate a placeholder ISBN for your book in their system. The problem I have with this is that it identifies Amazon as the publisher. I would rather pay the money to have the book internationally registered and identified as my own, just in case rights issues pop up later on. Keep in mind as well that if you publish a book in different formats, each format (print, Kindle, EPUB, etc.) is considered a separate edition, and as such requires its own ISBN.

The other issue which is important to note here is pricing. Amazon would very much like to drive sales of ebooks, since it benefits them as the largest source of those sales. They recognize that the best way to drive those sales are to make them affordable — however many of the larger publishers prefer to price ebooks similarly to how they price print, which leads to mass-market ebooks released for $15 or more. Amazon and the Big Six had a knock-down drag-out over this issue a while back, and Amazon lost. So, the big publishing houses continue to release high-priced electronic editions. Amazon decided to combat this via the small publishers and self-publishers. They rolled out a two-tiered pricing system on KDP. If you price your ebook from 99 cents to $2.98, or for more than $10.00, you will earn a 35% royalty on all sales. If, however, you price your ebook in Amazon’s preferred “sweet spot” of $2.99 to $9.99, you earn double that — a royalty rate of 70%. The 70% royalty is only available in certain territories — if you sell a book outside that territory, you’ll earn the standard 35%, but the territory list is constantly expanding (and currently covers all of the top-selling regions worldwide).

You provide Amazon with bank account information, and you’re paid via bank transfer approximately 2 months later (August sales paid in late October/early November, for example). They do not currently offer payment to Paypal accounts, or, strangely, to Amazon Payments either — bank account only (and they don’t limit it to US bank accounts, either. They do transfers to international banks).

One last word — this week, Amazon rolled out a program they’re calling “KDP Select”, which is an opt-in for creators to allow their books to be added to a lending library for Amazon Prime members (where members can ‘borrow’ Kindle books and read them without purchase). Supposedly, they’re earmarking money to be divided among creators in lieu of royalties for books consumed through this program, but honestly, given the numbers involved, coupled with the terms you must agree to (not having your product available anywhere else — which would include your own website, as well as competing services like Barnes & Noble’s Nook, etc.), it really isn’t worth it. So just ignore that for now.

Tomorrow, we’ll take a look at the physical flip-side of KDP, the Createspace program.

Storm the gates!
 
 
 

One for the musicians this time around. Music production is one of the many things that I dabble around in, although I haven’t taken the time to do so in far too long (well over a year at this point — I need to get on that). Once I get back to it, however, I’m going to be availing myself of Bandcamp, which I discovered through Amanda Fucking Palmer, who regularly releases content through it.

Bandcamp is a website that allows musicians to sell music and merchandise directly to their fans. It doesn’t distribute your music to sites like iTunes or Amazon (there are other services which do that, which I’ll cover before the end of this series), but handles order processing for direct sales (as well as digital delivery — delivery of physical merchandise is handled by you, as described here). You upload your graphics, your files (in lossless format: AIFF, for example), your metadata, etc., and Bandcamp handles the rest.

This video gives a brief overview of the service:
 

 

Best of all, the service is FREE. Bandcamp makes its money by taking a 15% revenue share of all sales (in addition to payment processing fees of between 4 and 6% — all of which is described in their pricing FAQ). The free account gives you access to a staggering list of features, including: multiple download formats, name-your-price downloads, sharing tools, Facebook integration, custom domains and more.

Best of all for the Insurgent Creative musician, Bandcamp gives you real-time statistics on all customers, where your music is being linked and shared, what’s being downloaded and when, what tracks are popular, what search engine terms are being used to find your music, etc. — allowing you to access to all of this data which truly enables you in building your fan base and engaging with them (which, as I’ve hopefully driven into the ground by now, is absolutely crucial for the Insurgent Creative model). CwF + RtB = $$$, right? — Bandcamp offers a direct connection, and makes it much easier for you to offer reasons to buy.

Storm the gates!
 
 
 

I know what you’re thinking. “Webcomics? I don’t make a webcomic. NEXT!” You’re making a big mistake, though.

The book pictured at right, How To Make Webcomics by Brad Guigar, Dave Kellet, Scott Kurtz and Kris Straub, is not about what you think it might be. What I initially dismissed as another “how to draw” book is actually written from the point of view that the reader *already* knows that stuff, and instead focuses on development, planning, site design, community creation and management — in other words, the nuts and bolts of making a living as an Insurgent Creative. The lessons are much more widely applicable than just for webcomic creators, and are worth a look from anybody looking to make a living through digital delivery of entertainment products.

Brad Guigar (co-author of the book, and creator of the webcomic Evil, Inc.), with regular contributions from Scott Kurtz (PvP) and others, runs a website — WebComics.Com, which is a subscription-based premium service filled with massive amounts of advice as well. The subscription price is $30 per year — which is, in my opinion, well worth it, even if you don’t produce a webcomic. The yearly subscription rate more than pays for itself, just in the membership benefits alone, which include:

• A 10% discount from Transcontinental Printing.
• A 15% discount on trade-show/convention displays from Formz Displays.
• A 15% discount from Blue Line Pro — a professional’s art supply company.
• …and other deals coming all the time.

Aside from the benefits of discounts, the membership subscription gives you access to the archives, the locked members-only content, a private forum, etc. There’s plenty there for any Insurgent Creative to use. For example, just taking elements from the current “Hot” list, there’s a two-part Q&A with Robert Khoo, Director of Business Development for Penny Arcade (you might have heard of him via his role as the Show Director for PAX). This is just the first of a series of Q&As that Khoo has undertaken for the site, currently totally over 60 in-depth questions on various aspects of business development for creatives.

This illustrates an important lesson for Insurgent Creatives — instead of focusing on your particular field, look at what others are doing in their particular niches, and think about how you can apply the things they’ve learned. The old cliché for this is “thinking outside of the box”… and “outside the box” is where the Insurgent Creative thrives.

Storm the gates.