Children’s Writing Web Journal

From their press release:

# Amazon.com is now selling more Kindle books than hardcover books. Over the past three months, for every 100 hardcover books Amazon.com has sold, the Company has sold 143 Kindle books. Over the past month, for every 100 hardcover books Amazon.com has sold, the Company has sold 180 Kindle books. This is across Amazon.com’s entire U.S. book business and includes sales of hardcover books where there is no Kindle edition. Free Kindle books are excluded and if included would make the number even higher.

# Amazon sold more than 3x as many Kindle books in the first half of 2010 as in the first half of 2009.

# The Association of American Publishers’ latest data reports that e-book sales grew 163 percent in the month of May and 207 percent year-to-date through May. Kindle book sales in May and year-to-date through May exceeded those growth rates.

# On July 6, Hachette announced that James Patterson had sold 1.14 million e-books to date. Of those, 867,881 were Kindle books.

# Five authors–Charlaine Harris, Stieg Larsson, Stephenie Meyer, James Patterson, and Nora Roberts–have each sold more than 500,000 Kindle books.

Stunning stuff. It’s always scary to be in the midst of an upheaval — and make no mistake, this is an upheaval — but when the dust clears, I believe we’ll be entering a great time for authors.

Full release here

Thirty years ago, the music industry was largely controlled by a handful of major labels: Atlantic, Warner Brothers, MCA and the like.  Power was centralized and access to creating a record that anyone would hear was extremely difficult to come by.  It was a tough slog for aspiring artists but, on the positive side, this meant that quality was more consistent and, if an artist did manage to score a contract, the chances of being heard — and potentially making a fair sum of money — was pretty decent.

Fast forward through decades of revolution — the compact disc, the rise of indie and DIY labels and ultimately, digital downloading — and the music world is a vastly different place.  On the one hand, almost anyone can record and release music, sharing it with listeners around the world with little or no expense.  The catch?  With millions of people creating and releasing music, it’s nearly impossible to cut through the clutter, especially when the once monolithic music market has become so wildly segmented.  Thirty years ago, a band that sold 50,000 albums would be considered an abject failure.  Today, they’re stars.

So what does this have to do with publishing?  A great deal if history repeats.  At issue: what if the rise of eBooks has the same impact on publishing as the compact disc and the MP3 had on music?

The Good:

* Content will become easier and cheaper to create and distribute, opening publishing doors for anyone with an idea and the desire to create a book.

* Niche (and even micro-niche) audiences will be well served with a wide variety of content options.

* Digital technology will allow creativity to soar, as eBook readers incorporate sound, touch and (before too long) smell into a formerly 2D medium.

The Bad:

* Without traditional gatekeepers (i.e. editors) in place, the signal to noise ratio is likely to get out of hand.  Don’t believe me?  Try bouncing around Myspace and listening to new pop music artists.  What’s the batting average when seeking true talent amidst the dross?

* Content will lose its value.   Stripped of  the packaging and context of traditional albums, music became another overly abundant commodity.  If it’s paid for at all, it’s for a measly sum.  Ebooks could suffer the same ultimate fate.

So It’s All Bad News?

Nope.   Some music artists have figured it out, and they’re clearing a path for authors to study.  Consider Derek Vincent Smith a.k.a. Pretty Lights, a hip-hop/techno artist who has released three CDs — and has never sold a single copy.  That’s because he gives them away, in exchange for the fan loyalty and exposure they bring.  The result?  He scores huge appearance fees to perform live, sells lots of merchandise and, generally, does a whole lot better than his contemporaries going the traditional route.

This isn’t to say that authors should prepare to give their work away (although they may consider it at some point) but to point out that income earned from live appearances, merchandise, licensing, blog advertising and other sources is every bit the legal tender that royalties are.   The successful writers, musicians and artists of tomorrow are those who understand that their overall brand is what will provide a good living, not simply one or two pieces of content.

In this video, we explore a segment of children’s publishing that offers less competition and more opportunity for beginning writers — nonfiction magazine writing. If you’re looking for a quick, fun and rewarding way to build publishing credits and experience, we’ve got all the info you need!

Having trouble viewing the video? You can also find it at Dailymotion, Metacafe, 5Min, Graspr and Howcast.

Interested in learning how to write a book and send it to children’s book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

The new issue of our free e-zine, Children’s Writing Update, is now online. This issue features some great market tips for YA writers, a treasure trove of writing advice from the late Allen Ginsberg, and article on creating great titles for your children’s books and much more.

Go check it out at http://www.getresponse.com/archive/cwupdate/Childrens-Writing-Update-The-Best-Writing-Tips-Ever-3302265.html

Enjoy!

Interested in learning how to write a book and send it to children’s book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!

You’re developing your craft, learning how to write a strong novel or intriguing non-fiction book. That’s good. But as much as you enjoy the writing itself, you’d really like to get paid for it. So what can you expect once you score that first book contract or magazine article?

* How Writers Get Paid

Authors are paid in one of two ways: in a percentage of the price of each book sold (known as a royalty), or with a onetime lump sum (flat fee). Here’s how each one works:

The royalty is specified in your contract and varies by publisher, but a common royalty rate is 10% for hardcover sales and 6%-8% for paperback. Traditionally, publishers paid the royalty on the actual retail price, but more publishers are moving to paying royalties on the net price, or the amount they actually receive from bookstores (stores purchase books from publishers at a 30%-50% discount). Though getting paid on retail versus net price is generally not negotiable, you can sometimes get a slightly higher royalty if you ask.

Most publishers pay the author an advance against future royalties. The author receives half the advance on signing of the contract, and half when the final manuscript is delivered. If you’re getting a 10% royalty on the retail price of a $10 book, and your advance is $3000, then once your book is published it needs to sell 3000 copies before you’ll start receiving additional royalty checks. If the book never “earns back” the advance (selling less than 3000 copies), it’s the publisher’s loss. Of course, the publisher is hoping that your book will earn much more.

The size of the advance is typically determined by estimating how much royalty the author would get on the book’s first printing. For a first-time author, the advance may be lower (because the author doesn’t have a track record and so the publisher isn’t be guaranteed a certain number of sales). Authors with an established following may command a larger advance because they have a built-in audience.

New authors always want to know the numbers: Exactly how much of an advance can they expect for a picture book or a middle grade novel? Unfortunately, there’s no easy answer. A small publisher may not have the resources to lay out more than a few hundred dollars up front, but might be willing to give a higher royalty. A first-time author is always a risk for any publisher, and so the advance paid will be lower than for a second or third book. But remember that the advance is really just a payment on future royalties; if your book sells well, you’ll get the money in the long run.

You also need to understand that for a picture book, the advance and royalty are split between the author and illustrator. So if you write the text but don’t create the pictures, you’ll get one-half the royalty (5%) and one-half the advance. For books that feature only a few black-and-white illustrations, the author gets most if not all of the royalty, and the illustrator is paid separately.

A flat fee means you’ll be paid one lump sum for your book, and you won’t earn any royalties. If you’re one of several authors writing a book for an established series, if you’re creating content for a book packager who does mass market series titles produced under one pseudonym, or if you’re hired to write a movie tie-in novel or work with licensed characters, you’ll likely be paid in a flat fee. The copyright may be in your name or that of the publisher’s. While it’s always nice to get royalties, flat fees may provide you with more money in one lump sum, and many authors take these kinds of jobs when they’re establishing a name for themselves. Magazines always pay in flat fees.

* If My Books Sells for $16, Why Do I Only Get $1.60?

Believe it or not, the children’s book publisher doesn’t make $14.40 profit on a $16 book. A small portion of the publisher’s overhead is paid by each book sold. A large group of people will work on your book: the editor, copyeditor, proof-reader, managing editor, art director, production manager, marketing department, sales staff and subsidiary rights (not to mention all their assistants), and everyone gets a salary. Your book needs to be printed (most likely overseas, especially if it’s a picture book) and shipped to stores. Publicity efforts can include sending out review copies (which come out of the publisher’s pocket), printing up posters or bookmarks, buying ads in review journals, creating and online presence and sending the sales staff to book conventions. Your book has to justify all these expenses, and still offer something left over for the publisher.

Laura Backes publishes Children’s Book Insider, the Newsletter for Children’s Book Writers. Want to learn how to write children’s books? Come hang with the Fightin’ Bookworms at http://cbiclubhouse.com Whether is writing picture books, chapter books, young adult novels, finding children’s book publishers — or anything else — you’ll find all the answers at the CBI Clubhouse!

Successful, published children’s book authors tend have four things in common. See if you have what it takes to make it writing children’s books and getting them published.

If you can’t view this for any reason, you can view the video on YouTube, Metacafe, Blip.tv, Veoh, Sclipo, Viddler, Howcast, 5min, Vimeo, Graspr and i2TV

If you enjoyed this video, please spread the word by bookmarking it with social sites like Digg or StumbleUpon using the “Share/Save“ button just below. Also, feel free to embed our videos in your own blog or website!

NEW! Click Here to Share this Video as a Tweet on Twitter!

From picture books to young adult novels, there are certain rules newer children’s book authors should never break. Here they are!

Enjoy!

If you can’t view this for any reason, you can view the video on YouTube, MySpace, Metacafe, Blip.tv, Veoh, Sclipo, Viddler, Howcast, Graspr and i2TV

If you enjoyed this video, please spread the word by bookmarking it with social sites like Digg or StumbleUpon using the “Share/Save“ button just below.  Also, feel free to embed our videos in your own blog or website!

NEW!  Click Here to Share this Video as a Tweet on Twitter!

(Note: the following is excerpted from our acclaimed eBook Improving the Odds, Insider Secrets that Can Help You Get Published! by CBI Publisher Laura Backes.  To read another excerpt and get more information about this eBook, visit http://write4kids.com/odds.html)

Here’s a fascinating question I received a while back. It brings up an interesting dilemma faced by writers who receive personal (as opposed to form) rejection letters.

Although getting a rejection letter is no fun –even if it’s directly from an editor who clearly enjoyed your work — you’ve actually established something quite important: a relationship with a real live editor.

Here’s how I advised one writer about taking advantage of this great opportunity:

Hi Laura,

I seem to have clawed my way to the near the top of the slush pile; I am now receiving signed, personalized rejection letters rather than photocopied forms. Several of the letters have included favorable comments, but so far I have received no suggestions for revisions of the manuscripts, or requests that I do so. My question is, if I revise the manuscript substantially, can I send it back to the same editors again? Or does ‘no’ mean ‘no, no, never, never’?

In publishing (unlike the rest of the world) being rejected “personally” is much better than being rejected anonymously. It’s frustrating, though, if the editor doesn’t tell you why your manuscript was rejected (that’s up to you and your writers group to figure out). If the editor doesn’t specifically say she wants to see the manuscript again, then “no” means “no”. However, she may say she’d like to see other manuscripts from you. If that’s the case, be sure to send her something else, and remind her in your cover letter that she requested another story. Even if she didn’t mention seeing more work, I’d still send her another manuscript (provided it’s the kind of thing that publisher is looking for) and in your cover letter thank her for taking the time to respond personally to your previous submission, and say “Here’s something else I thought you might like.” Forming a relationship with an editor now can often lead to a sale later.

For writing tips and more information about writing for children, visit The CBI Clubhouse - Home of the Fightin’ Bookworms!

Here’s our brand new video “Writing Children’s Books: A Crash Course in Submitting a Manuscript to a Publisher.”  Enjoy!

For writing tips and more information about writing for children, visit The CBI Clubhouse - Home of the Fightin’ Bookworms!

Here’s a really nice collection of publishing terms that can help demystify things for the newer writers amongst you (and the not-so-new, too).    Internalize this and you can sling the lingo  with the best of ‘em.

(Hat tip to our pal Anastasia Suen for finding this one.)

Interested in writing stories and sending them to children’s book publishers? Come on over to The CBI Clubhouse for audios, videos, insider writing tips and much, much more!