Your name: Phil Simon

Your website/blog: www.philsimonsystems.com

Your bibliography: Why New Systems Fail and The Next Wave of Technologies

1. What is your background? I am an independent technology consultant, author, writer, and dynamic public speaker for hire. I focus on the intersection of business and technology and have written two books: Why New Systems Fail and The Next Wave of Technologies. My next book is called The New Small and will be out in November. I also write for a number of technology media outlets and sites and host the podcast Technology Today.

2. What led you to self-publishing? I started writing in 2008 and wasn’t sure that traditional publishers would be interested in what I wrote. Ultimately, I didn’t care. I wanted to hold my book in my hand. I published the first edition of my first book, Why New Systems Fail in February of 2009 through AuthorHouse. After a proper publisher picked up that book (Cengage) and Wiley did my second book (The Next Wave of Technologies), I decided to try a different approach to self-publishing for my third book: The New Small. I started a publishing company (Motion Publishing) because I may publish other’s books in the future.

3. What have you found to be the biggest challenge in self-publishing? At first, it was finding an editor well-versed in my topic (technology) yet comfortable with the English language. I had some really big disappointments at first. I have overcome that obstacle now.  There’s still a bit of a stigma, but I’m convinced that my audience will buy the book without regard to the logo on the spine of the book.

4. What has been the biggest surprise about self-publishing?  That there are so many different options. For my third book, I’m using the same print-on-demand company (Lightning Source) as traditional publishers. I can also use the same cover person who worked on the second edition of my first book. In short, if you know what you’re doing, you can use the same resources to produce a book that’s essentially indistinguishable in quality from those of traditional publishers. Of course, you have to spend the money to ensure this; many self-published books lack quality control and I want to avoid that.

5. Describe your writing process. I have moderation issues and liken myself to a bulldog. Once I get an idea in my head, I want to make it a book—and soon. For me, waiting on traditional publishers was tough, especially since my topics involve technology. If I wrote fiction or non-fiction/historical books, then maybe I’d be more patient.

6. How do you stay disciplined? Two words: electric shocks. All kidding aside, I set goals for myself and make them happen. I know going into a book that I will blog less, play less golf and tennis, and travel less. I put a date in my head and work towards that date. Don’t even think of getting in my way.

7. How are you financing your publishing project?  I listened to a talk a few weeks by Seth Godin about the state of the publishing industry. In it, he mentioned the site Kickstarter. I did a little research and figured, “Why not?” I’m trying to raise $4,000 to cover some of my costs. After only 20 days, I have reached 75 percent of my goal. Being social media-savvy is paying dividends, I guess.  It’s a really neat model and I’m happy with the results so far.

8. What is your favorite self-marketing idea? Well, it’s hardly my idea, but getting others to get the word out is just plain smart. In The New Small, I am profiling twelve different companies and their use of emerging technologies, one of which is social media. These companies are inclined to promote the book for me, reaching out to their Facebook and Twitter audiences. The word of mouth (WOM) that they’ll generate will do more than any PR firm I could hire.

9. What advice do you have for burgeoning self-publishers? Get your book out there and don’t worry about perfection. As Voltaire said, “The perfect is the enemy of good.” Take the time and spend the money to make the book as good as possible. Then get it out there. There’s no reason to wait for lit agents or traditional publishers to green light your book.

10. When you’re not writing what do you do for fun? Golf, tennis, poker, movies, reading, exercising, and going to concerts.

11. What project are you currently working on? The third book: The New Small. 

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

I live in South Africa and I am published in the USA. Distance has made it impossible for me to go the traditional marketing route. Online is all I have open to me. I have worked very hard to go from “Fiona Who?” to not quite “Aha, Fiona Ingram, the famous children’s author,” but to a point where I have a healthy Google profile, a nice author site, with lots of links to interviews, book reviews, articles, etc. When I began researching (as is my wont) the concept of book marketing, I still had the silly notion that as a writer, all one did was write and people would automatically rush out and get one’s books. Not at all. Nowadays, even the traditional publishers expect their authors to do their own marketing as well.

An author cannot just be an author. He or she has to be a product or a brand. Publishers are also more interested in someone who has more than just books to offer. Readers are greedy for information about the author, what inspires them, what new books are coming up, etc. Your marketing will incorporate your author online platform which leans heavily on Social Media.

The online author platform consists of: your book/s; your website; your author profile/bio; an e-zine or newsletter; a blog; a video interview (vlog); a podcast radio interview; a video preview on sites like YouTube; articles you’ve written; articles about you.

Your website is your biggest asset in your author platform. You can put up information on your book and purchasing details, as well as your press release, your bio and a good pic, your reviews, and anything written about you and your book. When you reply to people, include your website in your signature so interested parties can track you back to your site, thus creating a good stream of traffic. Been interviewed on the radio or a local television station? Ask for a copy and put these up on your site as well. The more electronic information people have available for easy access, the better. From here, you can also launch your blog or fan club, set up your Twitter and other options, and link your social network sites, such as Facebook, Myspace, Squidoo, etc, back to this. You can also launch your website on many social sites simultaneously. These create coverage and alert the industry to your presence.

Google is a fantastic tool. You can load your articles, get a Google Alert to notify you every time something comes up about you and your book, link other sites back to your own to increase your ratings and give you credibility, set up a Blogger alert, join Google’s Library page, keep track of your site’s performance with Google Analytics, and much more.

Blogging and blog tours. You can “chat” to eager readers by going on a Virtual Book Tour. Virtual book tours are a promotional tool for authors to connect with readers via book blogs. Tours usually include a minimum number of tour stops over the course of one month on a variety of blogs. Some companies offer to feature on each tour stop a photo of the book, a review, links to the author’s website and blog, and will include your purchase information. Authors who interact with tour hosts and make themselves available for guest posting, interviews, Q&A sessions with blog commenters, and who respond to comments will have the greatest success from their tour.

Book competitions. Why should you enter? It’s not so much about winning as being seen. Competitions broaden your author profile because people in the industry will read your book. Organizers also post results online to market their contests. Even if you don’t win, you may get a Best Runner-Up mention, and that’s the kind of detail you will put in your press release. You don’t have to be in print yet to enter some competitions.

Do not stop marketing. Even when your book is out there and you’ve sent off your press releases, don’t stop spreading the word! Do something every day (either online or physical) to continue your marketing thrust. Penny Sansivieri of AME says: “Remember—marketing doesn’t sell books … marketing gives you exposure and exposure sells books.”

To get something done … you have to do it yourself. You only get reviews if you ask for them; you have to make a huge effort to engage with potential readers through blogs, tours, tweets, Facebook, all the social media tools freely available at every writer’s fingertips. There is so much free information that there’s no excuse for writers to moan about not getting publicity. Author sites abound, and if you’re not sure what to do, many marketing newsletters and e-zines offer load of free information. 

* * * * *

Fiona Ingram (B.A., Hons. (Natal), M.A., (Wits)) was born and educated in South Africa. Her interest in ancient history, mystery, and legends, and her enjoyment of travel has resulted in The Secret of the Sacred Scarab, the first in her exciting children’s adventure series—Chronicles of the Stone. The first book was inspired by an actual trip the author took to Egypt with her two young nephews (then aged 10 and 12).

Please visit Fiona’s author site http://www.fionaingram.com/ for more articles on marketing. For her book site, visit http://www.secretofthesacredscarab.com/.

I’ll start by saying that I am not the average person who has no idea what lurks in slush. I spent many years in the trade, going through those very awful slush piles that blogger writes about. And it’s true; there is some real crap out there. And everyone does not have a book in them.

That said, this does not mean that every acquisitions editor working for a major publishing house would know slush if it came in a cup. There is plenty of junk out there that is sitting on the bookstore shelves right this second. Some of it is written by bestselling authors or celebrities, ie, the publishing companies know it will sell. To imply there is some rigorous high standard that always goes along with book publishing is untrue. It’s about money, pure and simple. For most houses, there is no loftier goal than publishing what will make money—regardless of whether it is crap or not.

I fully agree with this, from the article: “I do have to say one thing in defense of self-publishing: it is a very useful tool for people who have a niche audience or their own book sales channels. Ideally, both. Most traditional publishers may not do ‘niche’ projects (not a large enough target market to justify general trade publication).” But may I also add that traditional publishers today are also looking for authors who have a built-in platform—before they sign the contract. Because the reality is that most trads do little to promote their mid-list authors. It is primarily up to the authors themselves.

I also don’t believe that every self-published author believes The Man (as Kidlit refers to the trads) is holding them back so they must “settle” for self-publishing. There are plenty of savvy authors out there—check out indie author and publisher Zoe Winters, for instance—who realize the odds are not in their favor. It isn’t because their work isn’t “ready”; it’s simply because there are a finite number of books being published by traditional publishers. As publishing houses have gobbled one another up in recent years, there are even few opportunities to be published. It isn’t about feeding the ego by getting a “stamp of approval” from The Man for these authors; it is about sharing their message. And if you truly have something to say, wouldn’t you rather have a few people hear it rather than none?

I think it’s misleading to tell writers that when your manuscript is just as perfect as perfect can be, you have a very good chance of being picked up by a traditional publisher. I think that’s overly optimistic. My husband’s heavy metal band is very good—all members of the group are accomplished musicians—but the reality is that they have virtually no chance of being picked up by a major record label. They know that. But it doesn’t stop them from wanting to be heard anyway.

“I’m only interested in people who grow, learn, polish, adapt, and set their sights on the difficult goal of traditional publication. It’s hard for a reason. Not everybody gets to do it.” What about the indie music scene? Should my husband’s band not put out their own CDs because they are pining for some major label to sign them? What about indie movies? Are they any less of an achievement because they are not produced by some major film company?

“But most people who self-publish don’t have a niche book or a good marketing strategy: they want to target the mass market. They have a project that would appeal, in their opinion, to everyone and anyone. And self-publishing a book intended for a trade audience is where these would-be authors get in trouble. Because reaching a mass audience — casual readers — with a self-published fiction project is nearly impossible.” I say there are plenty of self-published authors who go into it with their eyes wide open and their expectations realistic.

It’s unfortunate that with the advent of the so-called “self-publishing companies,” such as Author Solutions and Lulu, way too many people dive right into “self-publishing.” (Incidentally, this is usually “vanity” or “subsidy” publishing, which has somehow become lumped in with true self-publishing wherein authors set up their own imprint and have their own ISBN under which to publish books.) I have a real issue with these cookie-cutter, assembly-line service providers who enable authors to publish their slush on the cheap. Would I consider publishing these books an “achievement”? Not usually. Do I consider truly self-published authors who work hard writing a good, salable manuscript; have it critiqued and edited by professionals; and have the book well-designed as having achieved something? Absolutely.

Yes, there are those who “who don’t believe what editors and agents keep telling them: their work isn’t ready”—or that their work is just bad. I say, let those people go publish with Lulu. Their book will be available on Lulu.com, where approximately zero people actually go to buy books. What I’d like to see is the true self-published authors not denigrated for what they’ve done—because it is a real accomplishment.

Traditional publishing is not exactly known for embracing change (anyone want to talk about the fact that returns are still allowed?!), but I think maybe The Man is going to have to adjust his way of thinking whether he wants to or not.

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.

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

But the more I thought about it, the more annoyed I got. His condescending and disparaging view of “self-publishers” started to tick me off. First and foremost, the “self-publishers” to which he is referring are really authors who are going the vanity press route. And those pay-to-publish authors have been mostly scorned from the very beginning. Clearly, Keillor does not understand the traditional self-publishing model, wherein authors start up their own imprint and spend quite a bit of time and money to make sure the book they produce is top notch. These authors often hire companies that provide author services (note that this is quite different from pay-to-publish) to ensure their manuscripts are well edited and their books well designed. (Shameless plug opp: Yes, services such as Self-Publishing Resources.)

Second, he is clearly assuming that all self-published authors go that route because they were not “good enough” for the trads. Nope. There are many good reasons to self-publish, including maintaining creative control, making more money (yup, making more money), and producing the book more quickly, to name a few. And heck—you’re going to have to market and promote your own book anyway (the trads won’t do it for you!)…you might as well be in charge of the whole process and pocket all of the profits from your efforts.

Is a manuscript better just because you “mailed it to a New York publisher in a big manila envelope with actual postage stamps on it”? Because you typed it on a typewriter? Because you enjoy an “aura of martyrdom”?  All that sounds kind of romantic, but the past is the past.

I do agree that there is a lot of crap out there right now, but most of it falls within the subsidy press category. Once people begin to understand the difference between vanity publishing and independent publishing, I think (I hope!) that will begin to change and we will see more thoughtfully produced books. As more and more book review sites begin to cater to self-published authors (whether they are pay to publish or truly self-published), even if they are not the New York Times, I believe honest reviews will start to separate the wheat from the chaff. One thing I do know: Self-publishing is not going anywhere. Neither is the Internet. Or the cell phone. Or the microwave.

And does anyone else find it pretty ironic and kind of hilarious that Keillor’s article is surrounded by ads about self-publishing??!!