KDP vs Ingram Spark

Amazon’s KDP and Ingram’s Ingram Spark are currently the two biggest companies for self-publishing books. I use both. Here’s my take on the advantages/disadvantages of each:

kdp-amazon1.jpg

KDP – Advantages

  • bar graph daily record of how many books are shipped 

  •  easy set up 

  • free (!) set up 

  • gives the option to pay to advertise your book on amazon

  • You make more money per book

KDP - Disadvantages

  •  can’t sell your books to bookstores, because bookstores hate Amazon

 

ISpark.png

Ingram Spark – Advantages

  • can sell to bookstores

Ingram Spark – Disadvantages

  • costs $50

  •  set up is more demanding

  • Ingram and the bookstores take a cut, so you make less money

If you don’t care about selling to bookstores, I’d suggest selling on Amazon because you make more money and it’s easier to reach an audience on Amazon than it is to connect with bookstores. If you do want to sell in bookstores, I recommend publishing through both companies.



Should I Self-Publish?

IMG_5802.JPG

I get a lot of questions about how self-publishing works, so I thought I’d try to answer some of those questions here. First of all, traditional publishing means you sell your manuscript to a publisher and they handle all the copyediting, cover design, placement in bookstores, etc. Self-publishing means you do all those things yourself. Once an author is well-known, traditional publishers will also help with marketing, but when it comes to newbies, marketing pretty much falls on the author, no matter how you publish.

Self-publishing, or independent publishing, is all print-on-demand now. That means you upload your files, and the printing company you are using prints the book only after receiving orders for it. This makes self-publishing much easier than it used to be. You no longer have to buy massive quantities of books, store them in your attic, and ship them out one-by-one.

Self-publishing requires a lot of work and an investment if you want to do it well. I pay a graphic designer to help me design and format my books. I pay an editor to copyedit my manuscripts. I pay two other people to help me with creating content and social media. While it can be exhausting at times, I have learned so much about the publishing business by doing this and have learned how to market my own books, so I am grateful for the hard-earned knowledge.

The two most popular self-publishing companies are Kindle Direct Publishing through Amazon and Ingram Spark through Ingram, and each company has its positives and negatives. 

It is easier to publish on KDP, and you will make more money per book. Ingram Spark is a middle man – they get a cut, the bookstore gets a cut, you get a cut, and then there is the printing cost. So if your book sells for $10, and the printing costs are $3, then the bookstore gets $4.50, Ingram Spark gets $1.50, and you get $1. On Amazon, for the same $10 book, the printing costs are $3, Amazon gets $4, and you get $3. (These numbers are made up. Printing costs will vary depending on the size of your book, whether it’s in color or black and white, and how many pages it is.)

KDP is also nice because you can see daily reports of how many books are shipped. This allows you to track your marketing efforts to see if what you are doing is paying off. If your marketing is working, you will see a spike in sales.

IMG_5889.jpg

However, as a self-published author, it is extremely difficult to get into bookstores. If your ultimate goal is to sell in stores, then Ingram is your company. Ingram is the biggest book distributor in the US and what most bookstores use to purchase books. If you want bookstores to be able to buy your book, it needs to be available on Ingram. 

But how do you get it noticed by booksellers? While you can pay to have your book included in the Ingram catalogue, it is huge and filled with thousands of books. The best way to garner the attention of booksellers is to host events at bookstores so they buy your book. But obviously it’s impossible to visit every bookstore in the country. This is the biggest disadvantage to self-publishing. When you publish traditionally, you have a much higher chance of bookstores and libraries buying your book.

So what’s the takeaway? My advice is only to self-publish if you are positive you can sell your book. Self-publishing takes a lot of time and money. If you’re hoping to publish a book for fun or for your family to read, then by all means, go for it! But if you want to publish for the general population and actually sell your book, take these thoughts into consideration. And whatever you choose, I wish you the best of luck and success!

Interview with Hervé Tullet

36698-1.JPG

Can you tell us a little about yourself?

Well, my most recent book is called I Have an Idea. I’d say this pretty much sums up what I’ve been thinking about for a long time now—the power of an idea and how an idea can change your life. 

I know you've had a long career as an artist. What made you switch gears to writing and illustrating children's books?

It happened by chance, actually. I worked in advertising for more than ten years, but it didn’t feel like the right place to grow old. So I began working in various aspects of illustration. Of all my projects, children’s books were the most interesting—I love melding ideas and entertaining various possibilities to express those ideas. Not only that, but I realized that as an author I could have an impact in children’s lives, especially those weighed down with difficulties. That element of writing/illustration is what ultimately changed my life.

getImage.jpeg

How did you first come up with the concept for Press Here? Was it immediately well-received or did it take time to find the right publisher?

An important part of the process of creation is finding the right publishing partner. I’ve worked with several publishers, and I’ve always tried to be faithful to those publishers. In so doing, I seek to create an environment of comfort and trust in which we can both freely share ideas, think out loud, push an idea, or merely simplify text in order to propel the reader from beginning to end. 

In short, I take my time to search for a publisher that will trust me and stick with me and my vision for communicating with children in new ways. With such things in place, Press Here came naturally. 

That being said, the huge success of the book was totally unexpected! 

Can you explain your process for creating books? Do you come up with the text first and then the illustrations? Or the illustrations first? Or a combination?

First, I wait for an idea to trigger something in me that propels me to move forward on it.  Keep in mind, sometimes these ideas work, and sometimes they don’t, and that’s okay. When they don’t, I wait again (in my studio, in a plane, on a train, in the street, in a museum-- really, just about anywhere!) for another spark of inspiration that I can jot down in my notebook. 

Once the inspiration is there, I focus that energy into building the books. At first, I don’t think about page numbers or the illustration details-—I just try to ride the wave of the initial emotion. While I craft my workshops with the precision of a conductor. when I create, I’m more like a jazz musician, improvising and riding the emotion the best I can. 

What has been the most satisfying thing about your career?

Looking back and watching the progression of where I started to where I am now: participating in installations, partnerships with museums, and the Ideal Exhibition. 

Interestingly enough, despite their diversity, all of these experiences seem to stem from my first book. In fact, sometimes I think that I could explain all my work with my very first book. 

What is the most important habit you have developed for continuing to create books?

Perhaps my only habit is that after a project is complete, I attempt to get rid of everything quickly (the paperwork, drawings, email , and so on). This allows me to get bored, to free up that space inside me that will allow me to act on the unexpected.

You are working on a project called the “Ideal Exhibition.” Can you tell us about it? 

APULIA1105.jpg

I’ve included links to videos which visually explain the Ideal Exhibition better than I can verbally describe it. The Exhibition is based on the idea that you can create it yourself, with or without me, thanks to the help of short videos. In order to access the videos, all you need to do is apply (it’s free!), and you’ll receive a code to view them. The entire project is free, with donations used to enrich the project in various ways. For example, donations help pay for dubbing the videos into various languages (English is on its way!) or helping schools without the means to purchase the materials needed.

The experience itself can take place in both large and small venues (from museums to schools to a bedroom). We’ve got participants all over the world—teachers, librarians, art schools, museums, and even retirement homes are getting involved! The best part of the Ideal Exhibition is that there are very few parameters or restraints—get started on it when you feel ready and finish when you decide you’re done. It’s organic and exciting. We even have an Ideal Exhibition planned at a museum where the visitors will create the exhibitions, rather than me! (I may try to drop in at the opening, though!) 

We’d love to have you get involved!

www.lexpoideale.com

www.facebook.com/lexpoideale/

www.instagram.com/expo_ideale_herve_tullet/

www.pinterest.ca/expo_ideale_herve_tullet/

https://vimeo.com/expoideale

Where can we find you online? 

http://www.herve-tullet.com

Thanks for visiting us, Hervé!  

Importance of Reviews for an Author

I’ve never been one to write reviews, even though I rely heavily on them when I seek out products for myself. No good reason except that I didn’t want to take the time to write them, I suppose. But all that changed once I learned how important reviews are to authors. In the publishing world, reviews of books make a HUGE difference.

Why, you ask? Because Amazon and Goodreads rely on reviews, and these platforms are foundational for an author.

When it comes to Amazon, reviews make a huge difference in the Amazon algorithms. The more reviews an item has, the more Amazon will promote it, and the more easily it will show up via search engines. 

Here’s the great thing about Amazon. In order to write a review on the site, you only need to have purchased items to validate your account (and let’s face it— who can resist buying something on there?). 

If I haven’t convinced you yet, here are some more truths about Amazon reviews:

·     You don’t need to purchase the reviewed item from Amazon to write a review about it

·     Only one person from an account may write a review. If two people try to write a review from the same account, both reviews will get deleted. Eek! Don’t do this!

·     You don’t even have to write a comment. Just rating it by stars counts as a review.

·     You don’t have to write anything fancy. “Best book ever” counts as a review just as much as a graduate dissertation regaling the merits of the product. Do what feels best for you.

·     Your favorite authors will be not only be grateful, they’ll probably love you forever if you write a great review for them.

On to Goodreads!

Reviews on Goodreads are also helpful, since so many subscribers rely on them when it comes to choosing books. In order to write a Goodreads book review, you need to have a Goodreads account. That’s it. Easy peasy. And just like Amazon, you don’t even have to write a comment. Just click on the stars. 

 The moral of this blog post?

If you want to help an author, the best thing you can do is write them a (good) review of their book. The second best thing you can do is buy their book. These two actions are what allow authors to keep doing what they love-- writing new books!

I am so so so grateful for everyone that has taken the time to click on the stars or write a review of my books. It only takes a few seconds or minutes for you, but it makes a lasting difference for me. Thank you, thank you, THANK YOU!!

Interview with Karma Wilson

KarmaWilson_300dpi-600px.jpg

Can you tell us a little about yourself?

I’m a country girl, raised an only child by a single mom in the wilds of North Idaho. We only got 3 channels back in the day, and only 1 was watchable. Loneliness and boredom turned me to books at an early age, and I became a voracious reader. I started writing for children as a young married mother of three kids in 1996 and sold my first book in 1999, which was Bear Snores On (illustrated by Jane Chapman, published by Margaret K. McEldery/Simon & Schuster). I went on to publish over 40 books with various publishers and have been fortunate enough to receive numerous literary awards and make a few appearances on the New York Times bestseller list. I’m now an old grandma to my sweet granddaughter, Chloe. 




You've written a lot of books! Which one is your favorite, or which one are you most proud of?

My books are kind of like my kids—I can’t pick a favorite! Frog in the Bog (illustrated by Joan Rankin) is the most fun for me when it comes to storytelling, and I feel the Bear books are very positive, kind books that are a bright spot for kids today. A Dog Named Doug is a new one I’m very happy with! The art by Matt Myers is so fun!

What is your work day like? Do you adhere to a strict schedule, or is it always different?

My schedule is all over the place! I tend to write in waves. I’ll go months with nothing, then a storm rolls through my brain, and I tackle several projects at once.

How many rounds of revision do you go through for each book?

The revision process totally depends on the book. Bear Snores On required almost no changes, but my poetry book revisions were much more extensive, as they both have nearly 100 poems each (What’s the Weather Inside, illustrated by Barry Blitt, and Outside the Box, illustrated by Diane Goode). I can’t count how many times those got revised. I also self-revise every line and verse as I go, so I rarely have multiple drafts, but instead, one ever-evolving draft.

What is your all-time favorite picture book (not written by you)?

Again, it’s so hard to pick one! As a child, Where the Wild Things Are and The Monster at the End of this Book were huge favorites and anything by Shel Silverstein (except The Giving Tree, which I didn’t like and still don’t like—sorry, Shel!).


Thanks for visiting us, Karma!  

Parent/Child Book Club Planning Sheet

1490313291181.jpeg

As you may know, I love mother/daughter or mother/son book clubs, and I can’t say enough good about them. You can find many of my old posts about parent/child book clubs here. Parent/child book clubs get kids excited not only about reading, but about reading books they wouldn’t normally read. Plus, there’s the whole “book club” element! There’s something fun about reading the same book as your friends and talking about it. It also provides one more connection you can make with your child, which is always a win.

So I thought it might be helpful to create a planning sheet for those of you who would like to host your own parent/child book club.  

First, pick a date and time that works for everyone. If you don’t want to meet at your house, you could meet at a local park or even the library, where you can often reserve private rooms.

Then pick the book. I often choose Newbery winners, just because they have already been vetted and are usually deep enough to warrant a discussion.

While food is optional, it sure is fun to have themed food – something characters ate in the book or something that goes along with a theme in the book.

Then plan an activity! For me, this is always the fun part. I’ve done art projects, something active, or something the characters in the book do – anything to make the book come alive for your kids.

Lastly, come up with your own discussion questions or find some online. The best questions are the ones without specific answers, those that make the kids think and discuss.

So here’s a planning sheet, and I hope it helps! If you host a parent/child book club, tell me! I’d love to hear all about it!

ParentChildBookclubPlanning_Freebie.jpg

Interview with Bethany Barton

unnamed.jpg

Can you tell me a little about yourself?

Sure! I’m a kid’s book author and illustrator, with a “day-job” in film & TV. (Because one career isn’t enough, so I decided to have 2? haha) I’ve been fortunate enough to have written and illustrated 5 picture books so far, as well as occasionally illustrating for other authors and commercial clients like Starbucks. 

I’m passionate about creating books that help kids address and discuss fear using superpowers like facts and humor. My 2015 book I’m Trying To Love Spiders won the 2016 Children’s Choice Award 3rd/4th Grade Book of The Year. And my 2017 book Give Bees A Chance was a SCIBA Award finalist, was listed in Scripps National Spelling Bee “Great Words, Great Works,” and was featured in the New York Times. 

But don’t let that stuff fool you—  I still pretty much I have no idea what I’m doing… ha! 

Can you tell me about your new book coming out?

Heck yes I can! My newest non-fiction picture book addresses a subject that terrifies kids (and adults) the world over: MATH! It’s called I’m Trying To Love Math, and it hits stores in July. It’s chock full of space aliens, electric guitars and cookies… you know, math stuff. 

unnamed.png

Do you actually hate math in real life?

You know, writing this book really changed my relationship with math. It all started as a joke with my agent. My husband is getting his masters in physics (!) and keeps writing giant, rambling equations on our sliding glass door with dry-erase markers. I joked that I should write “I’m Trying To Love Math” to understand what the heck he was writing, and then my editor (the talented and wonderfully patient Tracy Gates at Viking) LOVED the idea. In the course of the book, I had a mathematician/friend answering all my stupid questions and explaining concepts to me (a genius named Erich Patrick Enke) — and he was/is so in love with and excited about math that I started to love it as well!  Seriously! Math is so much more creative then I’d ever realized! Great teachers absolutely make the difference, and Erich was/is a fantastic one for how my brain works. 

Did you always want to be a children's book writer and illustrator?

You know how Pete the Cat was walking down the street… and he just kept stepping in stuff… and then BAM - he had super sweet shoes? That’s basically my publishing career. 

I knew I wanted to be a working artist. I wanted to “Wake Up and Make Stuff” and then be able to trade that stuff I made for goods and services. I had stories to tell, and images to make, and thankfully I also had great mentors in my life. But I wasn’t particularly choosy about which field I ended up in, as long as I was creating things, telling stories, promoting honesty & empathy, and in doing so, was able to pay my bills.

It was actually my agent (big hugs to Stephen Barr at Writers House!) who found my art and stories on a blog I used to have and told me they could be children’s books. He saw it first, and I was overjoyed with the idea. 

It’s like Jim Henson said about working in the arts, “You have to be very very prepared… and very very flexible.” 

unnamed-4.jpg

How did you come up with your style of splotchy watercolor backgrounds?

Honestly, I made my first few books with all-white backgrounds because that’s what I find myself drawn to visually. My editor & art director wanted more color for Spiders, but just filling the background with a solid color seemed lifeless and not-in-the-same-world as the messy, gestural, energized artwork of the book. So I made a happy watercolor mess — a bunch of them, really— laid them into the background of the files, and VOILA!  I liked the tone it set; it seemed really happy and full of life.

Can you tell us about the process of creating your books? Do you write the stories and then sketch them out or do the images come to you first?

For me, since I’m making non-fiction books, it starts with research. LOTS of research. There’s so much competing information out there, so getting to the truth is important to me. Then I start typing and doodling. I draw with ink on paper, but I also draw digitally in Photoshop.

I make DOZENS of extra pages — with full-on text and illustration—  that don’t end up in my books. If I try to edit as I go I’ll overthink myself into stasis. So I just create, create, create.  Then I’ll go back and edit. My agent knows about this process, so if he doesn’t like an idea he’ll ask, “Is there something else you made for this part that ended up on the cutting room floor?” and usually there is. There’s probably a more time-saving process out there, but this one seems to work for me. 

Who is your favorite picture book illustrator and why?

Oh man, this changes all the time, there is just so much to love out here. But as of this moment? Everything Oliver Jeffers creates is inspired and filled with the most delicious layers. Kathryn Otoshi is able to evoke so much emotion within such a clean, simple, visual world… I really love what she’s doing. 

Where can we find you online?

www.bethanybarton.com

Instagram: https://www.instagram.com/bethanybarton/

NEW Daily Art Instagram: https://www.instagram.com/bethanybartonart/

Twitter: https://twitter.com/awesomebARTon

Thanks so much for joining us, Bethany!!