Sounds okay on the surface, right? Finally, PW is going to acknowledge that the tides of traditional publishing have turned, and there are merits to the self-published book. Its new quarterly supplement, PW Select, will announce self-published titles and review those they deem deserving. The listing will include the name of the author, book title and brief description, along with ordering information.

Even the $149 “processing” fee is somewhat palatable since it is offered with a six-month subscription (a $90 value, however dubious).

The processing fee does not include a guaranteed review. But ostensibly, this is because of their very high standards: “We briefly considered charging for reviews, but in the end preferred to maintain our right to review what we deemed worthy. The processing fee that guarantees a listing and the chance to be reviewed accomplishes what we want: to inform the trade of what is happening in self-publishing and to present a PW selection of what has the most merit.”

But wait: “…we’ll likely invite a few agent friends and distributors to have a look at what we’ve chosen. No promises there, just letting some publishing friends take advantage of the opportunity to see the collection.”

All right. Ick. “We’ll likely”? “No promises”? So basically this is just a way to squeeze some cash out of already bootstrapped self-publishers? I’m shocked that Publishers Weekly would sink to such a low. Are they that strapped for cash? PW Select is nothing more than a thinly veiled attempt to increase revenue without offering anything of real value. Call it what it is: a paid advertisement. Agents and publishers are not going to pore over these listings to find projects. And to attempt to mislead authors into believing this is the case is low. Really low.

I’m all for Publishers Weekly acknowledging that indie authors are becoming a major force in the world of publishing. But for them to do it this way leaves a real bad taste in my mouth. I can only hope that self-publishers—and I refer to those who have not gone the vanity route—will recognize this for what it is: just one more way the traditional publishing world is attempting to draw a distinction between traditional and indie publishing. And readers really don’t care who the publisher is, as long as they like what the author has to say.

In his blog post yesterday, he announced, “Linchpin will be the last book I publish in a traditional way.” He goes on to call the “architecture of [the] industry…fundamentally broken.”  He pretty much blasts the industry: “Traditional book publishers use techniques perfected a hundred years ago to help authors reach unknown readers, using a stable technology (books) and an antique and expensive distribution system.”

This is exciting news for those of us in the indie publishing industry who’ve felt this way for a long time. Self-publishing is losing much of its stigma (in spite of the trad holdouts who talk about the so-called lack of “street cred” with self-publishing) as savvy authors realize they can circumvent the gatekeepers and reach their readers directly. With heavyweights like Seth Godin on board, the stigma will continue to decrease. That said, however, authors need to have a platform if they want to have any amount of success.

Literary agent Rachelle Gardner makes a good point about this in her blog: “Godin says he is moving to electronic publishing only. If you agree with his perspective, you may want to consider it too, but keep in mind that he has a gigantic platform. (I’ll be interested to see if Godin stays ‘finished’ with traditional print publishing.)” Yes, Godin already has a built-in stable of readers eagerly awaiting his next book—regardless of which form it takes. Because without the platform, the chances of a new author getting signed with a traditional publisher are very slim. And if you’ve got the platform, why not reach them directly by self-publishing? Gardner herself admits that “the traditional publishing industry is shrinking” and “it could serve you well to consider the viability of self-pub from the start.”  

Says Godin:  “The thing is–now I know who my readers are. Adding layers or faux scarcity doesn’t help me or you. As the medium changes, publishers are on the defensive…. I honestly can’t think of a single traditional book publisher who has led the development of a successful marketplace/marketing innovation in the last decade. The question asked by the corporate suits always seems to be, ‘how is this change in the marketplace going to hurt our core business?’ To be succinct: I’m not sure that I serve my audience (you) by worrying about how a new approach is going to help or hurt Barnes & Noble.”

Will he completely shun the printed book? He admits he doesn’t know exactly what form his future projects may take, print or electronic (both?). What he does know is that he is simply weary of the traditional publishing process—and how slow it is. (As someone who was recently traditionally published, I have to agree with that!)

I don’t think we’ll see the total demise of the printed book in our lifetime; too many people still love the tactile quality of paper books. But as a girl who loves her Kindle, I think a lot of e-reader holdouts just haven’t given it a chance.

The writing is on the (electronic) wall: Traditional publishing as we’ve known it is on its way out.

Basically, the blogger writes that most proponents of self-publishing fall into one of three groups. He writes:

1)     Clueless.  These people are generally victims of a vanity press scam.  They believe that people like Stephen King pay to publish their books.  They are to be pitied more than censured, and the best thing you can do for them is to send them a book contract for them to study. It might take days, but I suspect they will eventually realize that the money flows toward the author.  Sadly, much of this is their own fault – the information necessary to avoid scams is readily available, all you have to do is make a minimum of effort.

2)     Conspiracy theorists.  These are actually a subset of number 1, people who think that editors and agents are there to keep new writers and new ideas from ever hitting the shelves.  This particular group is just as irrelevant as the first, because it shows that they haven’t done their homework.  Or maybe it’s just easier to believe that there’s a conspiracy than to accept the sad truth: the writing you are subbing just isn’t good enough for public consumption.  Not liking the options (get better or get out), these people went the self-publishing route.

3)     Economists.  It’s better to keep all the profits yourself, right?  Why pay these editors, copy-editors, formatting people and especially artists, when I already have a great book – my first draft! – and I can format it myself, and use a cover design made by my niece, which is just as good.  And who needs publishers when I can upload it to my kindle.  And if I go the print route, I’ll sell them myself, after all, authors have to be great salesmen, don’t they?  I’ll make a fortune.  All I can say here is: probably not, and your cover art is making my eyes bleed. 

To which I respond that he is forgetting a fourth category of self-publishers—the savvy ones who realize they need to have their manuscript professionally edited and their interior and cover designed by an artist who knows book design. These are primarily professionals who have an important message to get out there. Often they are in a niche market and regardless of the quality of their writing, most publishers have to pass because these books will probably not become bestsellers. Even some novelists are taking their own destiny in their hands by self-publishing. These “indie” publishers want to maintain complete control over their work from a creative standpoint (you don’t always have that option with a traditional publisher)—and some of them just enjoy the business aspect of publishing.

Does getting hundreds of rejection letters from publishers somehow make a writer more noble? Does it make him or her a better writer? Authors who self-publish the right way—by making sure they are putting out a top-notch book, both from an editorial and design standpoint—have accomplished something of which they can be proud. I think anyone who believes there is some sort of high standard to which traditional publishers are held today is kidding him- or herself. Sadly, it is no longer about the writing.  It’s all about whether or not a publisher believes a book will make money or not.

Going through a vanity or subsidy press is not self-publishing. It is paying another company to publish your work. It is very different from true self-publishing wherein the author/publisher has his or her own company imprint on the book and owns the ISBN. I agree that the only appropriate use for a vanity press is to publish a few books for posterity or for family archives.

The blogger also writes:  “Then, after the thing is written, someoene [sic] who knows how to select the best work will choose what gets seen, and someone who knows how to edit will edit, and someone who knows how to market will market!”

I also want to point out that traditional publishers do very little to market the books of their midlist authors. Writers who think that their work is done once they sign the contract and send in a completed manuscript are naive. You’ll earn a spot in the publisher’s catalog and on their website, but beyond that, the onus of marketing is firmly resting on the author. I can attest to this first-hand as I worked for a trade publisher and I’ve recently been published by a trade publisher. My co-author and I are the ones who came up with a marketing plan–and we are the ones who are implementing it.

I realize that self-publishing can be looked down upon because far too many books have been done poorly — badly designed, dubiously edited ego pieces. But the fact of the matter is, self-publishing is going to continue to be a viable option for authors who are tired of slush piles and gate keepers.  And I really don’t get how this hurts “real” writers? They should be grateful for the increased lack of competition, right?

I’ve got a new post for today, and it’s from a guest. Another project I’ve been working on recently is getting an internship program started. I was lucky enough to get a great response from an ad I posted with the Denver Publishing Institute, and I’ve got a couple of young people (I know, that makes me sound really old — but hey, I am!) starting with us. I had them do an initial “assignment” of writing a blog post for me; I was curious what they’d come up with. So here’s the first; I hope you enjoy these fresh new voices!

Guest blogger: Chad Hamilton

It has finally happened. I have been birthed into the world of publishing—and what a wide, blurry world it is.

Nearly two weeks ago I graduated from the Publishing Institute at the University of Denver. It was an intensive, four week course designed to give recent college graduates a crash-course in all things publishing. The once-a-year program primarily churns out future editors for large publishers, and so the curriculum is heavily weighted toward that goal. Yet for those of us who did not swoon at the romantic notion of reading manuscripts well into the night, every night, there were a plethora of other topics covered. From the role of the editor to the subsidiary rights department, we were exposed to nearly every step in the publication process of large and independent publishers of all types of books.

Yet, despite all of the recent growth and future growth potential—self-publishing was not covered. So how have I ended up writing this guest blog for Self-Publishing Resources?

I am a baby in the publishing industry. Though I have been given a head start with experience working for a print production facility, and having attended the Publishing Institute, I have years of proving myself to do. Frankly, I am scared to choose a particular area on which to focus: be it public relations, marketing, editing, or anything else in publishing.

With the industry in flux, the last thing I want to do is specialize in an area that may soon become obsolete. There will always be editors, marketing departments, and PR people to help get the book out, but the traditional ways of doing those things are changing. I am afraid that I will spend my “proving” years learning the wrong processes and that at some point in my career I will have to start over, or worse yet, become obsolete myself.

Self-publishing seems like the perfect opportunity to learn various processes, to remain flexible and open to new emerging opportunities, and ultimately to remain valuable to the publishing industry.

I believe these are some of the same reasons why authors are choosing to self-publish. After all, where to publish is a critical career decision for a writer as well.

Note: Chad Hamilton is a recent graduate of the prestigious Denver Publishing Institute. He also has a bachelor of arts degree in English and creative writing from Colorado State University. His present position as leadership development associate for a publicly traded printing company gives Chad an excellent overview of the production end of publishing. As a new intern for Self-Publishing Resources, he has much to offer. Hopefully, I can teach him a thing or two as well. — Sue

That, of course, is nonsense. For many authors, self-publishing—independent publishing—makes the most sense creatively and financially. These are the authors who have done their homework. These are the authors who are original and creative—and who know what it takes to run a successful publishing business. The quality of their books—both the way the work is written and edited, and the way it looks physically—matches that of those put out by large traditional houses.

Potential readers pick up their books not knowing—and not caring—who the publisher is. (Do you know who Stephen King’s publisher is? Do you care?) I’ve been criticized for saying that a well-done self-published book should not be identifiable as such; apparently it’s somehow “immoral” or “misleading” to put out a quality, top-notch piece of work. Eh. Whatever.

Indie publishing is here to stay, and I hope as more authors do it “right,” any remnant stigmas ultimately fall to the wayside.

Meanwhile, though, how do you make sure your book does not scream SELF-PUBLISHED and is judged by its cover and its content? Assuming you have a unique, compelling manuscript in the first place, here are some tips:

Have your own publishing company imprint and your own ISBN prefix. Head over to Bowker and buy a set of ten numbers—or a hundred if you have more than a few titles planned. If you are truly self-publishing (ie, not going the subsidy route), your publishing company must be listed as the publisher of record. If you’ve got Outskirts or Author Solutions or others of their ilk listed, they are the publisher—and you haven’t actually self-published. (Reference the subsidy link, above.)

Get your manuscript edited by a professional. Regardless of how good a writer you are, you probably cannot effectively edit your own work. I know I can’t—and I’ve been an editor of other people’s work for more decades than I care to remember. I can’t tell you how many times I’ve gone back to read something I’ve written only to be shocked by some glaring error I overlooked. Self-published books have a reputation of being badly written and poorly edited; make sure yours is neither.

Hire a professional to design your book cover. There are a lot of very inexpensive self-publishing options available today, most of which offer templated cover designs. They are all pretty awful and amateurish.

I recommend most authors hire a typesetter to design and layout their book’s interiors as well. If you are pretty tech savvy and can work a program such as InDesign, however, you can probably get away with formatting the interior yourself.

Don’t expect indie publishing to be easy. But do expect it to be rewarding—especially if you do it right.

Note to readers: I connected with Scott on another blog and was impressed with his self-publishing success. I hope you enjoy his post–and I do think you will learn a thing or two from his determination and perseverence!

When I finished writing a fantasy manuscript, I had little to no knowledge of what it takes to get a book published—but I had the desire to learn.

In 2006 I attended the Glorietta Christian Writers Conference in New Mexico. I was 20 at the time. I reserved a time-slot with Dan Penwell of AMG Publishers. I remember three other aspiring authors at that table, all pitching their books. That month I submitted my proposed manuscript to him, and he replied that it did seem a fit for the publishing house. I was thrilled. My family and friends told me that surely the publisher would give me a contract. But I’d heard stories of novelists getting turned down by publishing houses for various reasons, and I didn’t want to get my hopes up.

For the next two years I worked back and forth with that editor. During that time I submitted a couple manuscript revisions, acquired a couple author endorsements, and picked up or bought a pile of books on publishing, editing, writing, marketing, etc. Anything to do with the publishing industry interested me and I became fascinated with the idea of someday creating my own publishing house.

Ultimately, the publisher turned down my novel. I was very disappointed, but my friends and family seemed to take it harder than I.

I decided to start my own publishing company (Flaming Pen Press) using connections I’d made in the industry, and knowledge from the books I’d studied. First I contacted a fantasy author I’d become friends with and from him obtained contact information for the first editor he’d worked with. He highly praised her work and I knew she had a reputation for being harsh on manuscripts, which is what I knew I needed to bring my manuscript to a professional, publishable level.

I had previously commissioned a fabulous piece of dragon art to be used on my book’s cover, and I got a recommendation for a cover designer who could create a cover that would show off that art.

At that time I was under the impression the cover designer would also lay out the book interior. However, the designer informed me this was not the case, but he did know an excellent typesetter. So one contact led me to the next and I ended up outsourcing my book’s edits, cover design, typesetting, and art to a fabulous group of individuals.

With all the necessary files in hand I bought the ISBN and barcode, and set up my book with Lightning Source. Unlike other Print On Demand (POD) companies, they did not offer publishing services and they were owned by Ingram. Companies such as Lulu and Book Surge charged for “publishing packages” making them little more than subsidy publishers—and the quality of their books was below industry standards. I also needed to do a combination of offset printing and POD.

On March 30, 2009, I released Swords of the Six and held signings in bookstores and libraries in my home state of Connecticut. POD printed to order for Amazon orders, bookstores, and libraries. But my offset print run of 1,500 books served me well in hand-to-hand selling. As sales grew I quit my hourly job to pursue promoting and selling my book. People eagerly grabbed it up and my fan base grew rapidly. My wife and I embarked on a five-month book tour. We hit stores, libraries, and schools in thirteen states from New Hampshire to Indiana, Georgia, and North Carolina. In one year we sold over 3,000 books!

During my travels I was invited by AMG Publishers to meet with them again concerning my proposed book series. They had heard how I took the initiative, published my book, and made it a success. On my way through Tennessee I met with the editors and proposed a three-book-series. A week later they offered me three book contract, which I ultimately accepted. My first novel is going out of print (from my company) and end of this year will be re-released by AMG Publishers, with the second novel to follow in spring 2011.

This has been a long journey. I’ve been working on my series for six years now and the results were hard-earned. I am now in the process of growing my publishing company (Flaming Pen Press) and in September 2010 we are releasing another debut author’s novel, Kestrel’s Midnight Song. My goal is to launch first-time authors to success and then sell them off to larger publishers—and we will.

For more information about Scott and his books, visit his blog and website.

(Cross-posted at the Writer’s Digest website.)

So what is true print-on-demand printing? It means that books are first sold, then, using digital printing, one or more copies are created to fill the order. Although paperbacks are more common, many companies can now do case-bound books with dust jackets as well. Books are shipped direct from a POD vendor to the customer, who receives what looks very similar to a book printed by a traditional book manufacturer. Many books are shipped from POD vendors—Lightning Source or BookSurge (now merged with CreateSpace), for instance—to wholesalers or retailers such as Amazon or Ingram.

There are some drawbacks to this method of getting into print. Many publishers are still discouraged by the print quality and poor vendor customer service, reporting blacks that look gray and whites that are off-white. Illustration and photo reproduction might be uneven and patchy. Margins can vary from copy to copy. Paper and cover stock choices may be limited and of lower quality.

Yet there are several advantages to print-on-demand: You need no warehouse because there is no inventory to store. And there is flexibility: Suppose you decide you hate your title or cover? Change it! One publisher reports that her company prints each new title digitally and prints just one hundred copies. This is enough to work out any kinks as well as to market that particular title. If you’ve got a backlist title that sells slowly but which you’d like to keep in print, you can do so fairly economically, running just a few copies at a time.

There is also an element of speed. If you’re dealing with a timely topic, POD by a book printing company will get you books faster. Some vendors can turn out a book in two or three days; others promise two or three weeks.

If you go through an outfit such as Lightning Source, your book will be picked up automatically by Barnes & Noble, Borders, and so forth. This is a distinct advantage for self-publishers for whom distribution is often an issue. I predict this circumstance will continue to evolve, making POD books more readily available in brick-and-mortar bookstores.

So what will it cost you to ride the crest of this new wave? Prices vary. Lightning Source prices differently even for the same title, depending on whether the book is being sold to wholesalers for distribution or to the author for resale. This can be an issue if the primary source of sales is going to be back-of-the-room sales by the author, for instance.

An advantage to Lightning Source, however, is that they allow the author to set the discount with retailers. Discounts normally run from about 55 to 40 percent, but Lightning Source allows authors to set the discount as low as 25 percent. Although this technically allows publishers to keep a significantly portion of the profits, some retailers will not want to sell books at such a short discount.

CreateSpace sets a mandatory 40 percent discount to its retailer—primarily Amazon—but will require a deeper discount for publishers who sign up for its expanded distribution service to bookstores.

Generally the charges for printing are based on the length of your book (so much per page) plus a cost for the cover. Get quotes so you can compare costs, terms, and turnaround times. And ask where the normal price breaks fall. Here are a few guidelines: For a 250-page paperback book with a four-color cover, one POD printer charges $8.60 each for a quantity of 50, $5.13 each for 100, $4.49 each for 500, and $3.50 per book for 1,000. Hardcovers are considerably more, going for $15.87 apiece for 250, for instance, and $12.47 per book for 500.

I’ve heard of prices as low as $3.49 per book and as high as $20.00 and more. (POD may not be your answer if you’ve written a 600-page romantic saga!) Be sure to determine both the interior price and the cover price. The hard reality is it’s simply more expensive per book to print in these small quantities, but if you are unsure of expected sales, it sure beats having a pallet of books sitting in your garage, unsold. Do your homework and decide whether book digital printing or offset printing makes more sense.

The reality is that using a “self-publishing company” (which, in actuality, is a subsidy/vanity publisher calling themselves a self-publishing company) is a “kiss of death,” according to many industry professionals, including publishing expert Pete Masterson. Pete is principal of Aeonix Publishing Group and author of Book Design and Production: A Guide for Authors and Publishers. He has graciously allowed me to reprint here a response gave to an author in a self-publishing discussion group. It clearly addresses not only the typical breakdown of discounts offered to retailers, wholesalers, and distributors, but it also shows how thing might not add up when authors go the subsidy publishing route.

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Pete wrote:

…When you publish using Lulu or another of the “self publishing companies,” your book may not be widely available through the distribution process and if it is available, it may not have the “normal” discounts expected.

In publishing, everything is based on the list price of the book. The typical breakdown is as follows:

Retailer receives a 40% discount off the list price. They may set any price they wish to sell the book at, but they pay 60% of the list price to whomever they purchased it from—usually a wholesaler or distributor.

Wholesaler (this would be Ingram or Baker & Taylor, usually) receives a 55% discount off the list price. They pay the publisher (or distributor) 45% of the list price. The wholesaler then sells to retailers at 40% off—so they keep 15% to pay their costs, etc. There are certain incentives and other deals where a retailer may receive up to 48% off list price—but that’s between the wholesaler and the retailer. (Wholesalers do almost no marketing to retailers to promote purchase of specific titles.)

Distributor (could be one of many smaller firms) sells directly to retailers at a 40% off list price discount and sells to wholesalers at a 55% off list price discount. Distributors fees tend to be complex and may vary depending on the specifics of the services they provide to the publishers. Distributors may have a sales force or use other means to generate sales with retailers. Larger distributors usually will not accept single book publishers and, in reality, can’t do much for one anyway. Some fulfillment services have expanded into distribution (in recent years) offering “distribution” to Ingram and (sometimes) Baker & Taylor. These fulfillment service/distributors often are less expensive than a full distributor if your goal is simply to get listed by Ingram. Since prices vary, it’s hard to say exactly what it costs —but typically, the publisher will “give up” 10 to 15% of the list price to the distributor.

Fulfillment services tend to charge for the services rendered. The fulfillment service takes care of work that is normally the responsibility of the publisher (shipping books to wholesalers, retailers, and the public). Some offer order-taking telephone services. Charges vary and it is well worth shopping around.

Now, what does this leave for the publisher? If you can sell through a primary wholesaler, then you “get” 45% of the list price for each book sold. If you use a distributor, you receive 30 to 35% of list price for each book sold.

At this point, you will begin to see the problem. Lulu (and other subsidy publishers) “take” a cut on the sale of every book. Your cost per copy may well be above what you will receive upon paying for the printing and profit to the subsidy publisher. The solution (which is no solution) is to raise the price of the book. That makes books over-priced, and then they do not sell.

Or Lulu has set you up with a “short” discount through Lightning Source, Inc. (that is who prints the books in “global distribution”). If Lulu established a discount below the “standard”55%, then the bookseller would not receive the 40% discount—and then they will not order the book. (Amazon will list the book, because they list everything.) Also, if you have not arranged to have the books “returnable” then the bookstores will, again, not order your book.

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It’s a crazy business like none other, this thing called publishing. But authors who have stars in their eyes about seeing themselves in print and decide to go the low-cost subsidy route need to have realistic expectations about potential profits (if any). They may not pay upfront as they would if they were truly self-publishing, but they will likely pay in the long run.

Sometimes the numbers just don’t add up.

Self-publishing can be the road to independence. What motivates entrepreneurs to launch their own businesses? Most want to be their own bosses. More personal freedom was the second most important reason. Some do it out of necessity during tough economic times. But most people dream of becoming self-employed. You can turn that dream into reality. Here is a dynamic, proven way to shape your own destiny. It is an answer not only for city folks but for urban escapees seeking to prosper in paradise.

Becoming a self-publisher also provides a helpful tax shelter. After forming your own company and meeting certain requirements, you can write off a portion of your home and deduct some expenses related to writing and to marketing, such as automobile, travel, and entertainment costs. Always check current tax regulations and restrictions.

Another advantage is that you can begin your business on a part-time basis while keeping your day job. Why risk your livelihood until you’ve refined your publishing activities and worked out any bugs?

Want control over your work? In self-publishing, you guide every step. You’ll have the cover you like, the typeface you choose, the title you want, the ads you decide to place. Your decision is final. Nothing is left in the hands of an editor or publicist who has dozens (or hundreds) of other books to worry about. You maintain absolute control over your own book. (Along with this advantage, however, comes the fact that you also get stuck doing everything.)

Privately publishing your work also gives you the advantage of speed. Big trade houses typically take from a year to a year and a half—or even longer—to get a book out. Self-publishers can do it in a fraction of that time.

Even corporations are publishing books, although they have a different motivation. One of our past clients wrote us, “Your expert advice is paying off huge dividends for our small, nationwide consulting company. The book has become our calling card. It provides a great first introduction to our products and services. Often we are asked to provide follow-up proposals.”

Our company, Self-Publishing Resources, does turnkey publishing for many entrepreneurs and professionals today who write books to position themselves as the leaders in their industries. Publishing books also gives these individuals a fresh reason to attract media attention and be a source of news. Once they’ve written books, they are perceived as instant experts.

If your venture blossoms and the company expands by publishing others’ work, you have fresh opportunities to join the growing small-press movement. You can set policy, serve as a spokesperson, and bring deserving writers to the public’s attention.

The publishing business is a constant flow of exciting events. You will never forget that supreme moment when you hold the first copy of your very own book, just off the press. Some people compare it to holding their first child. When the book starts making the rounds, things happen. There’s a domino effect. One day you get your first fan letter (most likely read with blurry vision). Then a prestigious person gets wind of the book and requests an examination copy. Magazines and newspapers begin to review and mention it. Library orders start flowing in.

And, lo and behold, the biggies—those publishers that previously rejected your work—just may decide to reverse their decisions. Self-publishing can be the springboard to lucrative contracts with traditional publishers who were afraid to gamble before. Once the marketability of your book has been proven, they may be eager to take it off your hands.

So do you have what it takes to be successfully self-published?

(Excerpted from The Complete Guide to Self-Publishing, 5th Edition, by Marilyn Ross & Sue Collier. Coming summer 2010 from Writer’s Digest Books.)