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My guest for Episode #259 of the My Favorite Mistake podcast is Michele DeFilippo, the Founder of 1106 Design, LLC, started in 2001 to work with authors to help them take advantage of opportunities in the changing industry of book publishing – providing one-stop publishing services from manuscript to market.
I’ve worked with Michele on my last two books, Measures of Success and The Mistakes That Make Us.
In this episode, Michele shares her “favorite mistake” story. We also take a deeper look into a significant industry change, – the rise of independent publishing. They trace this journey to the late 90s and early 2000s when independent publishing emerged as a robust alternative to traditional publishing houses. Uncover the misunderstood beginnings of independent publishing and how it has been pivotal in empowering authors.
From its initially misconceived do-it-yourself approach, independent publishing has evolved into a strategic model that allows authors to bring industry professionals together to create high-quality books. In this episode, dive deep with us to explore how this professional, comprehensive approach has shifted the industry's narrative from – “self-published” towards “independent publishers.” Unearth the numerous ways professionalism and strategic collaboration can create a book product that competes favorably at the market level and meets readers’ demands.
Questions and Topics:
- Starting 1106 Design?? Did you look more before you leaped?
- “Independent publishing” vs “self publishing”?
- People DO judge a book by the cover??
- Changes publishers have to make for cover design for online purchasing??
- Compare traditional publishing vs. hybrid vs. indy?
- What does an author need to ask??
- What happens if that company goes out of business and disappeared??
- Manuscript is done… but now what?
- What does it cost to produce a book to traditional publisher standards?
- Mistake to assume your book is going to be sold in physical bookstores?
- Print book vs. eBook?
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- Full transcript
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Automated Transcript (May Contain Mistakes)
Mark Graban:
Hi. Welcome to my favorite mistake. I'm Graban Raven. Our guest today is Michele DeFilippo. She's the founder of a company, 1106 Design, LLC.
Mark Graban:
She started that company in 2001 to work with authors to help them help us, myself included, take advantage of opportunities in the changing industry of book publishing, providing one-stop publishing services from manuscript to market. I actually worked with Michele and her company on the last two books that I published. Measures of Success and The Mistakes That Make Us: Cultivating a Culture of Learning and Innovation. So, Michele, it's great to see you again, and it's great to have you here. How are you?
Michele DeFilippo:
Thanks for having me, Mark. I appreciate helping you and your audience.
Mark Graban:
I know we have a lot to talk about in the realm of what authors can or should be doing or mistakes we can help them avoid. But before we get into all of that, Michele, in your career, the different things that you've done, what would you say is your favorite mistake?
Michele DeFilippo:
My favorite mistake that actually worked out far better than I ever could have imagined, was to move from New York City, where I grew up, to Phoenix, Arizona. Phoenix is a great place to live. It's not a mistake to live here. But at the age of 24, I moved here without doing enough research about whether or not I could find a job.
Mark Graban:
Really?
Michele DeFilippo:
Yeah. And so that turned out to be now what moment? Because in New York, of course, there was no such thing as not being able to find a job. There were so many businesses that if you couldn't find a job, there was something wrong with you. So I worked in New York.
Michele DeFilippo:
I worked in publishing, and then I worked in the advertising industry. And in New York, the advertising industry was so big that that pretty large companies sprang up to serve the advertising agencies. So that was the model I had in my mind when I moved to Phoenix. And before moving here, I looked in the telephone book. There was no Internet then, so the only way to judge whether or not you'd be able to get a job was to look in the telephone book.
Michele DeFilippo:
And there were columns of ad agencies. So I thought, oh, okay, I won't have a problem. Well, after I got here, I discovered that those ad agencies were one person operations, and the owner basically did everything. And so it wasn't too long before I realized this was going to be more of a challenge than I thought.
Mark Graban:
So what, I mean, what sparked the move then? Was it a function of weather, or at least certain times of year? The weather is fantastic in Phoenix.
Michele DeFilippo:
Yes. My grandparents had retired here, so I had visited them a couple of times and loved it. Compared to New York, it was new and clean and beautiful, and the weather was great. So my husband and I at the time said, why not? We're young.
Michele DeFilippo:
We've got nothing to lose. Let's give it a shot. We had in New York at that time, we were at the crossroads of where we would have to move to a place that was 2 hours away from Manhattan and commute every day to work. So we didn't want to do, we knew we didn't want to do that. And so Phoenix just seemed like a great idea.
Mark Graban:
Well, I mean, I guess, you know, it's one of those decisions in life, you think, what's the worst could happen? You could always move back to New York. You could move someplace else. Was that part of the mindset?
Michele DeFilippo:
Oh, yeah.
Mark Graban:
And flexible.
Michele DeFilippo:
Yeah, that was definitely the calculation. We didn't have any children yet, so it was like, you know, why not? What's the worst that could happen?
Mark Graban:
Yeah. So then what happened? Job wise or career wise or, you know, how long were you wondering, gosh, was this a mistake or could you make the best of it?
Michele DeFilippo:
Well, I did eventually find a job here, but it turned out that graphic design wasn't valued in Phoenix the same way it was valued in New York. And so the best I could do was make minimum wage. And that was really discouraging. I worked at print shops, I worked at defense contractors. I worked all kinds of places and could only earn minimum wage.
Michele DeFilippo:
And the same was happening with my husband. He had worked at the postal service in New York, so he was used to making a good salary, I was used to making a good salary. And all of a sudden, we're now in the lower tier of things and have to worry about how we're going to buy groceries. So I did that for four or five years. And back then again, there was no computers.
Michele DeFilippo:
So in order to put a graphic design page together, you had to buy typesetting from a separate company and bring it home and cut it and paste it into place.
Mark Graban:
So we in computer, when we cut and paste, you were using scissors and glue?
Michele DeFilippo:
Yes, we actually did razor blades and glue to assemble a page in the way you wanted it to look. But first you had to order the typesetting what you wanted and then bring it, bring it home to paste it up. So one day I was sitting in my typesetter's office waiting for her to finish my job, and I happened to ask, and I was probably making $3 an hour at that point in Phoenix. And when I just happened to ask her, I said, what do you charge per hour. And she said, $50 an hour.
Michele DeFilippo:
So that kind of got my attention.
Mark Graban:
There's a big gap there.
Michele DeFilippo:
Yeah. So I ran home and I said to my husband, I know how to type. Why don't we start a typesetting business? And that's what happened. I never, ever in a million years living in new york would have thought of starting a business.
Michele DeFilippo:
It just wasn't something that would have entered my mind. So that's how steak worked out.
Mark Graban:
So there's, there's the silver lining and then some.
Michele DeFilippo:
Yeah.
Mark Graban:
In New York, you would have been happy with a job and a career because that was there. It wouldn't have pushed you to go do something different.
Michele DeFilippo:
Oh, yeah. And even my upbringing, you, I wouldn't have heard the word career. Right. It was always about getting a job. My father worked for a utility company in manholes, so getting a job and putting food on the table was the height of very ambition for anyone themselves or for me.
Mark Graban:
Yeah, yeah. So. Well, I mean, I'm the same way. They say entrepreneurs tend to grow up in an entrepreneurial family. You know, my dad was an engineer who worked for the same company for 40 years.
Mark Graban:
My mom was a stay-at-home mom and became a teacher. And so, yeah, I had no idea or notion about starting a business or being an entrepreneur until much later. I guess I would say it was graduate school, kind of open those possibilities. And for you, it was both, like, necessity and opportunity.
Michele DeFilippo:
Yes, yes.
Mark Graban:
So how did that go with the typesetting business?
Michele DeFilippo:
Oh, it was. I actually repeated the mistake because I didn't know the first thing about owning a business when I did it. But it's, you know, we did the calculations, and at that time, typesetting machines cost $35,000. So we calculated that to rent an office and lease a machine would be about, I don't know, three or $4,000 a month, and that we could handle that worst case scenario if nobody ever walked in the door. And so that's what happened.
Michele DeFilippo:
And honestly, I can't claim credit for the success we had being of my own creation. I just had a lot of guardian angels along the way. People did walk in the door, but, but, and it just started out real small and grew from there.
Mark Graban:
Yeah. And then as things evolve, I'm curious, then starting 1106 design, did you look before you leaped a little bit more with that business, or. I don't know the answer to how, like, I don't know the origin story of your company that I've worked with.
Michele DeFilippo:
Well, that was another Guardian Angel story. I was in the library, and I saw a brochure for the Arizona Book Publishing Association, which I had never heard of, and I thought, I'll go to a meeting. I'll see what that's all about. I had worked at Crown Publishers in New York for a time. So I said, okay, I've worked in publishing before.
Michele DeFilippo:
Let me see what's going on here. And that's when I learned about independent publishing. It was just getting started. That was around the late nineties, and independent publishing was just getting started. And I had the business saw that, that books were going to represent a really good opportunity.
Michele DeFilippo:
Yeah, yeah, yeah.
Mark Graban:
And then why the name 1106 Design?
Michele DeFilippo:
Well, by 2001, it was impossible to find a domain name for a graphic design company. They were. Everything I could think of was taken. So I used my birthday.
Mark Graban:
Happy November 6. I assume you mean November 6, not the year. It would be a mistake to assume it could be June 11 if you were doing the European format.
Michele DeFilippo:
November 6. Yes. Okay. 1106 design and the unintended.
Mark Graban:
There's no other security questions in the company name, like your pet's name or your mother's name?
Michele DeFilippo:
No. But another unintended consequence there is, 1106 happens to put me first in just about every database.
Mark Graban:
So back in the days of the phone book, it was, you know, aaa pest control.
Michele DeFilippo:
Yes. Still.
Mark Graban:
Still, yeah. So, I mean, let's. Let's talk more about, you know, publishing and the different dynamics. Like, for one, when I talk to people, I generally say it's a mistake to call it self publishing because I know, at least for me, I didn't do it myself. The book would have been far worse if I hadn't engaged people as an editor, cover designer, and then with your company providing copy editing and typesetting and proofreading.
Mark Graban:
And, you know, it would have been a mess if I tried to do it myself. So I do prefer that term independent publisher, thinking of me and my company. How do you talk through that with people if they're like, oh, I should self publish?
Michele DeFilippo:
Well, the problem is, at the beginning of this industry, it was called self publishing, and it was understood to mean that the author would be the publisher, just like you described. You're doing everything the right way, just like any other publisher would. You're hiring the experts to help prepare the book, and then you get all of the benefits when you sell a book. But over the years, self publishing, the term self publishing has become misunderstood. And to a great extent now it means do it yourself.
Michele DeFilippo:
Publishing, which is, which is a mistake because, and, you know, I don't understand why people don't see it as a mistake because to me, it's common sense that if you're not trained and you're not experienced in a line of work, that you're not going to get the same results as someone who is. But there's a lot of do it yourself ism out there. And unfortunately, that has given publishing, self publishing a bad name because there's so many, we've all seen the terrible books that result when people do it all themselves. And it's a shame because in the beginning, it was understood that self publishing meant being the publisher.
Mark Graban:
Yes.
Michele DeFilippo:
And continuing with publishing standards the way they existed at that time. And it's just gone all haywire since then.
Mark Graban:
Yeah. And I mean, there are really good books that have, in some cases, some not so great covers. I mean, that does have an effect. There's that old cliche, don't judge a book by its cover, but people do. Right.
Michele DeFilippo:
Everybody does, you know, because that, that's the single thing that makes people stop and learn more about the book. Right.
Mark Graban:
Yeah.
Michele DeFilippo:
The cover and the title and the front cover text—you just have to grab them, and you've got about three to seven seconds to do that before they start scrolling away and looking at something else. So it's critical.
Mark Graban:
Yeah. And then there's a different dynamic of back in the day or even now. I mean, I occasionally go to a physical bookstore, but scanning a bookstore shelf is a very different process than searching and scrolling through an online retailer. Have you seen different trends in cover design, recognizing that people are going to be looking at a small image on screen?
Michele DeFilippo:
Well, yeah. As a designer, you do have to keep that in mind. How is it going to look when it's one inch tall? That was not a consideration you had to worry about before online purchasing became possible, but fortunately. And so, yes, you have to be able to at least read the main title when it's an inch tall and preferably more.
Michele DeFilippo:
But you can't take that too far because if you make the subtitle too big, then you're throwing off the proportions of everything.
Mark Graban:
Yeah, well, but I mean, I think it's where more and more books have, in a way. I mean, they're designed, but in the way they're playing. I see a lot of books that are really nothing but text on the cover Like, fine, okay, we're not going to have any sort of other graphical elements because they seem to be really prioritizing the words, yeah.
Michele DeFilippo:
If, when you, when you search for any book, you'll find multiple concepts represented. It can be all text, or it can be a design where the picture dominates the design, or it can be a design where the picture and the text are of equal importance. But the important thing to do to work through with your designer is to discuss what are the best selling books in your genre? What do they look like now? What are the major publishers doing now?
Michele DeFilippo:
Because they have a lot of money and expertise behind everything that they do. Even though indie publishing is great in the sense that you can do what you want, it still makes sense to follow the lead of people who know what they're doing. Because even if you direct people to your title online, Amazon is not going to show only your book. They'll show your book, but they'll also show those bestsellers that are close market matches. And so if your book looks self published and it stands out for all the wrong reasons, buyers are going to say to themselves, uh oh, that, that looks risky.
Michele DeFilippo:
I think I'd better stick with the well known author.
Mark Graban:
Yeah, yeah, yeah. And yeah, I think, you know, people look at my books in print and, you know, they, it looks as good, or I think in a lot of cases better than what I've seen from publishers because of your guidance on everything from, you know, how big should text be and making it look, you know, you know, and your team know all the things about how to make it look like a traditionally published book or better. And I'm trying to think back to our discussions about the cover I didn't have you and your team do the covers. I'd like to think, though, if I had come up with something terrible that you might have pushed back or given me some coaching or advice because I did consider you a trusted partner in this process.
Michele DeFilippo:
Absolutely. That's our job. Right. And you're not required to take our advice, but, but we always try to do our duty and explain why we're doing something that we're doing and why something you're asking for may not be a good idea. I recently saw a book by a really famous author, I won't tell you who.
Michele DeFilippo:
And I thought to myself, that cover looks really awful. You know, I'm surprised that such a prominent author would release a book with such a terrible cover. So I looked on the copyright page and sure enough, it said cover design by the author and the publisher. And I thought, oh dear, you know, it's, the cover is about credibility, right? Unless you're already famous, you have to make that instant first impression that your book, whatever is inside those pages is credible and reliable, and your cover does that.
Mark Graban:
Yeah. And, you know, when I talk to, you know, people who are thinking about writing a book, and, well, I've gone through a traditional publisher, and then I've been an independent publisher, and I tell people, I'd love to hear your thoughts on this. It's like, well, you know, for better or for worse, when, when you are the publisher, you get to make the decisions. And I know people like, for me, the biggest complaint or disagreement with the publisher was over price. I thought they wanted to overcharge for the book, which maybe made sense to them in their business model, but didn't make sense for me.
Mark Graban:
I know other authors who have ended up with titles or subtitles or covers that they didn't like, but because they were going through a publisher, there's, you know, this question of, like, well, you. It's like taking an investor in a business. You lose some control.
Michele DeFilippo:
Oh, yeah.
Mark Graban:
What the contract might say. Right.
Michele DeFilippo:
Yeah. And the thing about independent publishing, when it's done correctly, as you're doing it, you don't need to work with another entity called a publisher. Right. All of the services and expertise you need are available to you to do whatever a publisher might do for you. And yet it's, it's a difficult idea to dislodge because we now have a whole bunch of publishers in the marketplace that basically don't do much for the author except share their revenue from sales.
Mark Graban:
Well, and so I wanted to talk about that. So there's traditional publishing and there's independent publishing. I think what you're alluding to is called hybrid publishing.
Michele DeFilippo:
More often, it goes by many names. Hybrid is one of them. Some of these companies will just call themselves independent publishing companies or self publishing companies, which is an oxymoron. Right. Sure.
Michele DeFilippo:
Because if you're self publishing, you don't need a publisher. But that's been forgotten, unfortunately. But I think from the author's point of view, the manuscript is done. They're asking themselves now what? Which is actually the perfect question to ask.
Michele DeFilippo:
But I think they go toward a publisher because they think they need services. And what's missing in the narrative is that these services are available.
Mark Graban:
Right.
Michele DeFilippo:
And you do not have to go with an entity that not only controls your book, but takes some of your money. And now these middlemen publishers are charging authors to produce the book. A traditional publisher never charged the author to produce the book.
Mark Graban:
Right.
Michele DeFilippo:
And then they would take money on the back end when a book was sold in order to recoup that investment, which is perfectly fair. But now these publishers are charging authors for the services to produce the book and taking money on the back end, and that doesn't work out too well for authors.
Mark Graban:
I mean, it seems like that creates all sorts of risks, so. Yeah, well, my understanding of the traditional publishing model is they'll set a price. They have their printing cost and then they set a price, a discount to the retailer. I think typically 55% off the cover price.
Michele DeFilippo:
It can be anywhere from 40% to 55%. Brick and mortar bookstores need 55% because they have a lot of expenses. But the online retailers, Amazon charges 40%.
Mark Graban:
Yeah. So the retailer, rightfully so, is taking a cut, and then the publisher of what's left is taking a cut that's larger than what they're paying to the author. But again, they're like the angel investor in the book. The publisher is fronting the costs of all of those services that an independent publisher like myself and others, we pay that upfront, we're making that investment.
Michele DeFilippo:
Correct. But with these middleman companies, you're making the investment and they're also taking the back end.
Mark Graban:
That seems like the worst of both.
Michele DeFilippo:
Which is the worst of both worlds. Right. So the question is, you know, if you have now, to be fair, some of these publishing companies do participate and carry some of the expenses. Like for example, the author may pay for the services upfront, editorial and design, but the publisher will bear some of the marketing expenses. That, that's an ordinary partnership and there's no problem there at all.
Michele DeFilippo:
But, but a lot of these publishers are charging the author for everything and still taking a cut of the revenue from sales.
Mark Graban:
Yeah.
Michele DeFilippo:
So that's the question authors need to ask is how are you, how are you calculating my royalty and how quickly.
Mark Graban:
Or how frequently is it being paid? So, I mean, I know, like my publisher pays me once every six months. I think it's six months in arrears. I have to trust the numbers that they're showing. But when I have that direct connection to Amazon, I could see pretty much real time sales numbers.
Mark Graban:
I try not to go hit refresh too often. That's a mistake I think a publisher author might make. But you can see those numbers on a daily, monthly basis. They pay once a month. And I think it's not as far in arrears, you've got the advantage of getting paid a higher percentage, getting paid more quickly, and it seems like there's a risk.
Mark Graban:
What happens if a hybrid publisher business goes out of business.
Michele DeFilippo:
Then the author is out of luck, in fact. And it has happened a number of times with some very popular self publishing companies that the company just disappeared. And they created the files for the author's book. Right. And so they disappeared with those files.
Michele DeFilippo:
So if the authors wanted to continue to publish that title, they would have to start over. So that's the control that authors lose when they don't keep everything in their own neighborhood. And like you said, you can look at Amazon and see how many sales you have. You don't have to depend on anybody else giving you an answer about that. When you work with a publisher, what they're doing is they're uploading the book on their print on demand accounts.
Michele DeFilippo:
So they get the reports. You don't get the reports. They get the reports. They get the payment first, and then they decide whether or not they're going to pay you. And there's been lots of abuse there, too.
Mark Graban:
Yeah. So, I mean, it sounds like authors really just need to research kind of the gamut of their options. And, I mean, we, so many guests on the show have talked about a mistake that was born from a bad assumption. It seems like one of those common assumptions is I need a publisher, whether it's the traditional or some sort of book publishing service, that assumption.
Michele DeFilippo:
And I feel sorry for authors because they're stepping into an area that they don't know anything about, necessarily. So if it seems another important thing to remember, if it seems too daunting to you to hire a cover designer and hire a typesetter and hire an editor and manage all of that, there an alternative? And that would be companies like mine where we manage the project for you just as if we were publishing the book. But we're not your publisher, and we don't take any money out of your pocket. We're just, you could think of us as a project manager.
Mark Graban:
Right, right. And at the end, it's a fee for service.
Michele DeFilippo:
Right.
Mark Graban:
Customer partner, supply, customer supplier partnership. And I mean, you know, there are things, you know, to speak to my own experience, things that you and your team could have really helped me with a lot of handholding, but I already had the account on Amazon. I didn't need help uploading the files. Or, I mean, but if somebody is doing that for the first time, especially, and they're afraid I might be doing that wrong, or, I mean, there's something to be said for getting that kind of fuller range of support.
Michele DeFilippo:
Yeah. We always work with the author at the level they want, like you said, in your case, we sent you the files and you upload, uploaded them. Right. And that's fine if the author wants to do that. If the author feels uncomfortable about that, we'll upload the files for them and help them through all the distribution choices that they have.
Mark Graban:
Yeah. For somebody who's never looked into this, if somebody's written, let's say, a reasonably sized business book, or maybe the dynamics and everything the same for a novel. I tend to think nonfiction, because that's what I write and read. But how much of an investment does somebody need to expect to make to bring a professionally produced, independently published book to market?
Michele DeFilippo:
Well, for us, a typical 200 page non fiction book, full service editing, cover design, interior design, proofreading, ebook formatting and distribution setup would be around $9,000. Yeah, yeah, but that's. That's full service.
Mark Graban:
Right. And then, you know, somebody could go through, you may even have a calculator on your website, and I will plug. Michele and 1106 design have a lot of information on their website and articles. You know, if it's daunting, you know, go read books about book publishing, or Michele's got a lot of information out there. Do you have a calculator?
Mark Graban:
That kind of shows. I guess the hardest thing, maybe is projecting how many copies are you going to sell. But looking at the royalties of independently publishing through Amazon and others versus getting.
Michele DeFilippo:
Publisher royalties, well, first of all, nobody knows how many books you're going to sell. So if anyone starts that conversation with you, you should run. Even major publishers have their failures with all of their expertise and all of their resources. Sometimes a book bombs and there's nothing that they can do about it. I don't have a calculator on my website.
Michele DeFilippo:
But you've given me an idea now maybe I should do have all of my prices, which isn't always done by some of our competitors. I want people to know what it costs. And they can sit there with their own calculator and add up the price of the services that they need easily.
Mark Graban:
Yeah, and they could do some. Here's my engineer brain. MBA brain. You could calculate how many copies do I need to sell to recoup that upfront investment. How many do I need to sell independently versus how many do I need to sell from a publisher getting, let's say, a 15% royalty.
Michele DeFilippo:
Right. And I would direct people, they can find calculators at both KDP and Ingramspark to find out what their royalty would be. But they need to remember, too, that they set the retail price. So the author sets the retail price. The retailer takes its wholesale discount.
Michele DeFilippo:
At Amazon, it's 40%. At Ingramspark, the recommended discount is 55%. Because they feed the brick and mortar bookstores.
Mark Graban:
Right.
Michele DeFilippo:
And then you deduct the printing cost, and then the rest comes to you. The bottom line is what you would be paid if you control everything yourself. Right. So keep that in mind. I mean, I think before you talk to anyone else, you should have that figure in your head so that when a self publishing company offers you ninety cents a copy and, you know, you can make $8, you can, you can cut that conversation short.
Mark Graban:
Yeah, yeah, yeah. The, um. And there's these calculators, like you said, Amazon KDP, Ingramspark, say how many pages, black and white, book versus color, what type of cover you, you'll see what they're, at least the printing price they're going to charge you per copy. And, you know, I think that's one of the other biggest advantages, being an independent publisher. It's far less expensive for me to give copies away.
Michele DeFilippo:
Yes.
Mark Graban:
Because I can basically get them at, you know, again, the printing cost that they're, they're charging me. There's some markup in there, I'm sure, but it's far less expensive than the discount a publisher had previously given me. I couldn't give copies away the book, I'd have to sell ten copies to give one away. And now those dynamics, that's, I think, another thing that tilts the scale in favor of being the publisher.
Michele DeFilippo:
Yeah. Because when you work with a third party, sometimes that publisher is marking up the printing price. You know, they may give you the royalty calculation, but they may be reporting a printing price of dollar eight when it's really $4. So if you start with the information that's readily available to you, you can always have an informed decision. Look, different solutions are right for different people.
Michele DeFilippo:
There isn't one solution for everybody. But my goal here is to just let people know what the issues are so that they can ask the right questions.
Mark Graban:
Yeah. And make the right decision for them.
Michele DeFilippo:
For them.
Mark Graban:
Right.
Michele DeFilippo:
Yes.
Mark Graban:
Yeah. Now, you talk about brick-and-mortar stores. It might be a mistake for people to assume I'm going to publish my book and I'll go through Ingham Spark and every bookstore chain is going to start selling my book.
Michele DeFilippo:
No.
Mark Graban:
What's the more realistic scenario?
Michele DeFilippo:
More realistic is look at it from the bookstore's perspective. Right. They have thousands of titles on the shelf. They don't want to deal with thousands of individual authors bookstores deal with distributors, and they'll deal with a company that can give them 500 books on one invoice. And then there's the whole structure for returning books built into that.
Michele DeFilippo:
Right. Sometimes if a buyer returns a book, people don't know if a book is on a bookstore shelf, a buyer returns it. They have to give it back to the publisher, and that's deducted from the author's revenue. Right. Bookstores don't actually buy books.
Michele DeFilippo:
They have. They display them on consignment.
Mark Graban:
Yeah.
Michele DeFilippo:
Right. So that's another advantage of working with Amazon. They don't ding the author for returns.
Mark Graban:
But then there's, there's an important factor where. And this is why I think Amazon and Ingramspark come into the discussion. Barnes and Noble really doesn't want to buy books from Amazon as distributor.
Michele DeFilippo:
No, we recommend that people use both Amazon and Ingramspark together. Right. Because most of your sales are going to come from Amazon. So paying 40% for that makes sense just as far as it goes. And then Ingramspark feeds the wider distribution network, Barnes and noble books, a million bookstores, libraries, other distributors, and that's why they need the 55% wholesale discount.
Mark Graban:
Yeah. And there's a difference between being on bN.com, where they do have unlimited shelf space, I guess, versus being in a physical bookstore, where they just, they can't cover, they can't hold everything. And would you say, I mean, like one argument, if somebody has a book that really is going to be a bestseller, and, I mean, that would be an argument for going through an agent and a publisher. If you think this is something that could be sold in airport bookstores, for example.
Michele DeFilippo:
Well, sure, you can always apply there. It's difficult. You know, agents, and first of all, never pay an agent. If an agent asks you for money, that's a red flag. Legitimate agents are paid by the publisher, never by the author.
Mark Graban:
So, brokering the deal.
Michele DeFilippo:
Yeah, yeah. But agents are overwhelmed with submissions. So if you do decide to approach an agent, absolutely meet their submission request requirements to the t, don't think you're the exception. Whatever they ask for, give them, because otherwise you'll wind up on the slush pile pretty quick.
Mark Graban:
Yeah. What are your thoughts for an author who's thinking through publishing an ebook and or a print book? I mean, there's some overlap in the editing and the work that goes into it, but what, what's your advice for somebody trying to figure out, like, do I need to have an ebook? Does anyone ever do ebook? Only in some circumstances.
Michele DeFilippo:
Well, there again, I would look to what are the major publishers doing? And right now they're releasing print book, ebook and audiobook so that the buyer has the choice of the format that they prefer. That can get pretty expensive, but I would say at the very least, start with a print book and an ebook and then consider audio after that.
Mark Graban:
And there's that similar process I went through with the mistakes that make us hiring a company that's an audiobook specialist in terms of recording technology and just the producing of knowing how it should sound, both technically and for me as the reader of it. But again, like, there were a lot of choices. I could have hired a narrator. I mean, there's all these services that you could pick and choose from on doing the audiobook piece.
Michele DeFilippo:
Oh, yeah. You could hire your own narrator, freelancer. Right. That's a little bit risky because you have to make sure they know how to prepare the final files properly. Audible and find way are very particular in how those files need to be formatted.
Michele DeFilippo:
Yeah, yeah.
Mark Graban:
But you know, again, like, there's access and ability to publish directly on Audible just the same as you could publish directly for Amazon, Kindle, for the other ebook stores or the other print book stores.
Michele DeFilippo:
Correct. The author side of Audible is acx.com. So you can go there. Find a way. Voices is actually, some authors consider them a better platform for different reasons.
Michele DeFilippo:
I would say compare the two and see which one works for you.
Mark Graban:
Yeah. Well, if people who are looking at those different options, if they've got a manuscript and they're trying to figure out what to do, our guest today, Michele Defilippo and 1106 Design, can help. Michele, as we wrap up here, let people know how they can find your website. What's kind of a first step if somebody is looking for your advice or considering working with you?
Michele DeFilippo:
Okay. Our website is 1106Design.com. And there you'll find, like I said, all of our prices, all of our design samples, blog posts, educational materials. Anybody who wants to can put in an email address and receive a free copy of my books published like the pros in PDF form. We're happy to talk to anybody any time about anything without obligation.
Mark Graban:
Yeah. And again, there's. If people want to do that. Yeah. Please contact Michele.
Mark Graban:
And again, there's a wealth of great advice and resources and articles there on the website that I've pointed people to over the years for sure. Michele, thank you. You know, of all the different mistakes an author might make, some of it seems to parallel some of your story. Somebody might jump into one path a little bit too quickly. But we'll learn and adjust.
Mark Graban:
Or maybe get good advice and avoid the mistake to begin with.
Michele DeFilippo:
That's right. Thank you, Mark. You've been a wonderful client and I appreciate this opportunity.
Mark Graban:
Well, thanks, Michele. I'm glad your favorite mistake story wasn't saying, like, oh, working with that guy that time time.
Michele DeFilippo:
No, believe me, I can tell you stories.
Mark Graban:
We'll keep you out of trouble there, Michele. Thanks again.
Michele DeFilippo:
Thank you.
Episode Summary and More
Navigating the Evolution of Book Publishing: Insights and Innovations
In the rapidly changing world of book publishing, authors and industry professionals are continuously seeking innovative ways to adapt and thrive. From traditional publishing roots in places like New York City to the emerging landscape of independent publishing, the journey is full of pivotal decisions, unexpected turns, and, sometimes, serendipitous mistakes that lead to success. This article delves into the transformative paths of those in the book publishing industry and offers guidance to authors navigating these dynamic waters.
From Big City Publishing to Independent Ventures
The transition from working in the bustling publishing and advertising spaces of New York City to starting a new life in Phoenix, Arizona, represents a significant shift for many industry professionals. This move, often prompted by personal reasons such as a change of scenery or lifestyle, initially appears daunting due to the contrasting job markets and business landscapes between the two cities. In places like New York, the abundance of large-scale publishing houses and advertising agencies provides a familiar environment for those in the industry. However, relocating to a city with a notably different business ecosystem can inadvertently become the catalyst for exploring entrepreneurship—particularly when traditional job opportunities are scarce or markedly different in nature.
For some, this necessity to adapt becomes the driving force behind the decision to start their own ventures, such as typesetting businesses or comprehensive publishing services. The shift from employee to entrepreneur, although challenging, uncovers untapped markets and services in need within the new environment. These ventures not only fill a gap but also allow for a more flexible, creative approach to industry work that might not have been considered in a more saturated market like New York City.
The Rise of Independent Publishing
The late 1990s and early 2000s marked a significant period of transition in the book publishing industry, with the emergence of independent publishing as a formidable alternative to traditional publishing houses. This innovation was driven by the needs and aspirations of authors who sought more control over the publishing process and better financial terms for their work. Independent publishing, initially known as self-publishing, was misunderstood at its inception. The term suggested a do-it-yourself approach, which often led to misconceptions about the quality and professionalism of the resulting books.
However, the essence of independent publishing is far from a solitary endeavor. It encompasses a model where authors take on the role of publishers, making strategic decisions to hire professional editors, designers, and marketers to ensure their book meets industry standards. This collaborative approach ensures the production of high-quality books that can compete with those released by traditional publishers. Emphasizing the term “independent publisher” over “self-published” highlights this professional, comprehensive approach to bringing a book to market. It's about leveraging the expertise of industry professionals to achieve a product that reflects the author's vision and meets the expectations of readers.
The Evolution of Publishing Services
The evolution of publishing services to accommodate the needs of independent authors represents a significant shift in the industry. Companies like 1106 Design, LLC, founded in response to the changing landscape, offer one-stop publishing services, guiding authors from manuscript to market. This model of publishing service is a testament to the industry's adaptability, providing authors with the resources and expertise needed to successfully publish their works independently.
These companies play a crucial role in demystifying the publishing process for authors, offering services such as editing, design, typesetting, and marketing. By consolidating these services, they not only streamline the publishing process but also ensure that independent books stand on equal footing with those published by traditional houses in terms of quality and marketability. Furthermore, these services empower authors, giving them more control over their work and its presentation to the world.
In conclusion, the book publishing industry continues to evolve, with the rise of independent publishing and the development of comprehensive publishing services marking significant milestones in this journey. For authors navigating this landscape, understanding the value of professional collaboration and the opportunities beyond traditional publishing paths is crucial. Whether stemming from a serendipitous mistake or a strategic decision, the move towards independence in publishing opens new doors for authors to share their stories on their own terms, fostering a richer, more diverse literary marketplace.
The Importance of Professionalism in Book Design and Cover Art
Book publishing, much like any other industry, hinges significantly on first impressions. This is especially true in a landscape where a book's cover design plays a critical role in its marketability. As the digital marketplace grows, authors and publishers must adapt their strategies to ensure their work stands out in an ever-more crowded field. The transition towards online shopping has necessitated a change in how book covers are designed, with a need for titles to be legible and enticing even when displayed as small thumbnails.
Adapting to Digital Marketplaces
- Design Considerations for Online Platforms: Whether browsing a physical bookstore or scrolling through pages online, the initial attraction to a book often comes from its cover. In digital marketplaces, where space is limited and attention spans are short, the design elements of a book cover need to be both striking and functional. Designers now face the challenge of creating covers that are visually appealing at smaller sizes, ensuring that the title and main visual elements remain clear and engaging to potential readers.
- The Role of Typography and Imagery: In an environment where the book cover must speak volumes at a glance, the choice of typography and imagery becomes paramount. A cover that harmonizes these elements can effectively convey the book's genre and tone, encouraging potential readers to explore further. The key is balancing creativity with clarity, ensuring that a cover is not only beautiful but also communicates the essence of the book effectively at various sizes.
The Shift Toward Text-Dominant Covers
In recent trends, there has been a noticeable shift towards text-dominant covers. This design strategy prioritizes the legibility of the book's title and author over complex imagery, particularly beneficial in an online setting where covers are often seen at reduced sizes. This minimalist approach can also lend a sophisticated, modern aesthetic to a book, appealing to readers looking for something new and distinctive.
Ensuring Cover Quality
- Collaboration with Professional Designers: One of the critical steps in achieving a successful book cover is collaboration with professional designers who understand the intricacies of cover design for both physical and online markets. Authors, especially those in the independent publishing sphere, must recognize the value of investing in professional design services. These experts can navigate the challenges of creating a cover that works across different formats and sizes, ensuring that the book appeals to the intended audience.
- Benchmarking Against Industry Standards: To produce a cover that competes favorably in the market, analyzing bestselling books within the genre can provide valuable insights. Established publishers invest heavily in cover design, understanding its crucial role in book sales. By examining these industry standards, independent authors can align their cover designs with what readers expect from top-tier publications, thereby increasing their book's credibility and appeal.
Conclusion
The evolution of book publishing demands a keen understanding of market dynamics, especially in the digital space where the competition is fierce. A well-designed cover is more than just an aesthetic choice; it is a strategic tool that can significantly enhance a book's visibility and attractiveness to potential readers. As authors navigate the complexities of publishing in the digital age, focusing on cover design excellence and professional collaboration will be key to standing out and achieving success in the crowded literary marketplace.
Navigating the Self-Publishing Landscape
Self-publishing has revolutionized the literary world, offering authors an unprecedented level of control over their work. With this control, however, comes a multitude of decisions that can be daunting for newcomers to the publishing scene. Understanding the self-publishing process, including the avoidance of common pitfalls and the strategic investment in professional services, is crucial in bringing a polished, competitive product to market.
The Pitfalls of Direct Publishing Platforms
- Vigilance Against Predatory Practices: Authors opting for the convenience of direct publishing platforms must exercise caution. The allure of these platforms can sometimes obscure the potential for exploitation, where control over distribution and earnings is obscured or manipulated. Transparency in reporting and payment is paramount to ensure authors are fairly compensated for their work.
- The Misconception of Independence: While direct publishing platforms promise independence, true autonomy requires understanding the entire publishing process. Authors should be wary of relying entirely on any single service that may present itself as a one-stop solution. In reality, independence is achieved through a comprehensive strategy that may include the use of these platforms but doesn't rely on them solely.
Investing in Professional Services
- The Value of Full-Service Publishing Support: For authors who find the prospect of managing every aspect of publishing overwhelming, partnering with a full-service publishing support company can be a wise investment. These companies act as project managers, guiding authors through the complexities of editing, design, and distribution, without siphoning away profits under the guise of traditional publishing contracts.
- Transparent Pricing and Customization: It's essential for authors to seek services that offer transparent pricing and customizable packages. By understanding the costs up front and being able to select only the services needed, authors can manage their budgets more effectively and avoid overpaying for unnecessary services.
Strategic Distribution and Pricing
- Balancing Online and Brick-and-Mortar Availability: The diversification of distribution channels is a strategic necessity in contemporary publishing. While online giants like Amazon offer unparalleled reach, complementing online sales with availability through IngramSpark and other distributors can enhance visibility and accessibility, catering to a broader audience.
- Pricing Strategy for Maximum Reach and Return: Authors must navigate the fine balance between pricing competitively and ensuring a reasonable return on investment. Utilizing the calculators provided by platforms like KDP and IngramSpark can help authors establish a pricing strategy that factors in the wholesale discount, printing costs, and the desired profit margin.
The Role of Physical Bookstores
- Realistic Expectations for Bookstore Placement: Securing placement in physical bookstores is a challenging endeavor, given the competition for limited shelf space. Authors should manage their expectations and understand that bookstores prioritize relationships with distributors that can supply multiple titles under single invoices, thereby streamlining their inventory management.
- The Consignment Model and Its Implications: Traditional bookstore consignment models, where books are displayed without upfront purchase, can be less lucrative for authors due to the potential for returns. Independent authors may find more success and fewer financial risks with online sales or by targeting specific independent bookstores open to consignment on more favorable terms.
Conclusion
The journey to successful self-publishing is multifaceted, requiring authors to be proactive, informed, and strategic. From the initial design and production phases through to marketing and distribution, understanding the landscape and making informed decisions at every step can set the foundation for not just publishing a book, but launching a successful literary career.
Expanding Into Audiobooks: A New Frontier for Authors
The evolving dynamic of self-publishing now encompasses not just text, but audio formats, offering a promising avenue for authors to grow their audience. The advent of platforms like ACX and Voices provides an accessible path for authors to transform their manuscripts into audiobooks, tapping into a booming market. As consumption patterns include more listeners yearning for content during commutes or while multitasking, audiobooks represent a significant growth opportunity for self-published authors.
Choosing the Right Platform: ACX vs. Voices
Navigating the terrain of audiobook production begins with selecting an appropriate platform. ACX.com, associated with Audible, offers an extensive network and resources for authors new to the audiobook domain. Alternatively, Voices brings a different set of features and benefits that might suit certain authors better. The key is to weigh each platform’s offerings against your project goals, budget, and desired level of involvement in the production process. Factors such as royalty splits, non-exclusive vs. exclusive distribution, and marketing support should be thoroughly evaluated.
Collaborating with Professional Narrators
The quality of narration is pivotal in the success of an audiobook. Authors must choose a voice that complements their narrative style and resonates with their intended audience. Both ACX and Voices allow authors to audition narrators, providing an opportunity to find a storyteller who can breathe life into the manuscript. Investing in a professional, experienced narrator can significantly enhance the listener's experience, thus augmenting the audiobook’s marketability.
Marketing and Distribution: Amplifying Your Reach
The production of an audiobook is merely the first step; effective marketing and strategic distribution play crucial roles in ensuring its success. Leveraging social media, author websites, and email newsletters can create buzz ahead of an audiobook’s release. Exclusive promotions through Audible codes or partnership with audiobook bloggers and podcasters can also drive initial downloads and reviews, critical for visibility on platforms like Audible.
Navigating Financial Aspects: Costs Vs. Royalties
Producing an audiobook can be cost-intensive, primarily if an author opts for a paid narrator. Understanding the financial implications, including upfront costs and potential royalties, is essential. Platforms offer various payment models, from outright payment for narration services to revenue-sharing models, where narrators receive a portion of the audiobook’s profits. Such arrangements can mitigate upfront costs but require careful consideration of long-term financial outcomes.
The Integral Role of Professional Services
For authors feeling overwhelmed by the audiobook production process, partnering with a company like 1106 Design can provide invaluable support. Services that seamlessly integrate manuscript editing, cover design adapted for audiobook standards, and strategic marketing can streamline the journey from manuscript to finished audiobook. Transparent pricing, customization, and professional guidance can alleviate the pressures of self-publishing across formats, ensuring authors can focus on their craft while experts handle the technicalities.
In Conclusion
The decision to venture into the realm of audiobooks is one that could significantly extend an author's reach and revenue potential. By making informed choices about production, professional partnerships, and marketing strategies, authors can navigate the complexities of audiobook publication to find new audiences and further their self-publishing success.