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Ebooks have revolutionized the publishing revolution and YOU TOO can be part of the Revolution!

In Burning the Page, digital pioneer Jason Merkoski charts the ebook revolution’s striking impact on the ways in which we create, discover, and share ideas. From the sleek halls of Silicon Valley to the jungles of Southeast Asia, Merkoski explores how ebooks came to be and predicts innovative and interactive ways digital content will shape our lives. Throughout, you are invited to continue the conversation online and help shape this exciting new world of “Reading 2.0.” 
It seems as if one way to make money with ebooks is to first make money with ebooks and then write an ebook about how to make money with ebooks.

Tobias Buckell, Science Fiction author with work first published in both tradtional and new ebook market makes a cautionary point about these kinds of works:

Survivorship bias: why 90% of the advice about writing is bullshit right now ...
The problem, right now, in eBook direct sales, is that everyone is paying and listening to people in the green area. They’re listening to everything they say, and sifting everything they say as if it’s a formula for success. 

Like in most cultish behavior, if you follow the rules and don’t get the results, you’re either ostracized, ignored, or it’s pretended you don’t exist. Many who don’t get the same results just shut up and go away. Thus creating an environment where people are creating massive amounts of confirmation bias by continually listening to the top sellers.

(BTW: Read the whole piece, its good stuff, and survivorship bias is a useful critical thinking tool in a wide range of areas, including policy campaigns.)

Tobias Buckell continues:

Does this mean I’m somehow against direct digital publishing? No, obviously I’m a hybrid player and have been for over a decade now. But my refusal to damn either version of publishing means I don’t get lauded by certain parties, ink isn’t spilled over me, I’m not some vanguard. I’m just a working stiff, a mid list writer with a decent but passionate audience. Both methods have benefits and drawbacks, and I’m fully aware of both and try to communicate that. 
 
Rehashed Revolutions: Ebooks as the New Dime Novel

The "revolution" in ebooks is the ability to just write a book and upload it into a multi-platform or Kindle-specific or Nook-specific site and sell it online!. Publicize it online on blogs, Facebook, twitter, and link your prospective audience straight to where they can buy the book! All the barriers erected by the big bad publishing industry are torn down!

Matt Blind has long been blogging about eBooks and traditional books and being a bookseller in the "Age of Ebooks". Matt Blind is "@ProfessorBlind" on twitter, Barnes & Noble bookstore manager, sometime maintainer of a manga online sales bestseller list, and occasional poster to his site, RocketBomber.

Matt Blind has recently posted a piece he titled The New Pulp, pursuing his lonely quest to remind people that the "traditional" publishing world that they are experiencing at the present is not the way that "its always been". Lots of people seemingly never knew or are in the habit of forgetting that if you press far enough into the past, its like going to an entirely different country.

The mistake so many are making when it comes to e-books and self-publishing is that they strongly feel they are shaking the very foundations of publishing, upsetting the established order of publishers and editors and gatekeepers and damnable rejection letters and bringing forth the Author’s Utopia where they and their works can Connect with Readers forever and ever amen.

 
But publishing is not a monolith. It may seem like there are only six publishers (soon to be five) but really: the publishers haven’t been the same since the big media consolidation of the 1990s. Smaller imprints subsumed into the morass continued to produce great books, but also largely only managed to do so, so long as they were able to fly under the corporate radar. ...

There is far more in the post than I am going to quote here ... including valuable block quotes collected from elsewhere ... but here is the key quote, which ties directly into Tobias Buckell's point:
E-Books are not the panacea some hope, and if you press the point: we’re going to have to stop you. Push it too much and you’re just selling e-book-snake-oil to a whole class of gullible creators. Can we all respect and repeat the point:
  •    
  • E- does not fix all.

A broken system that extends lottery-ticket-style winnings to a few, while ignoring everyone else, is not suddenly fixed when we bypass the single-channel Big Game to offer smaller jackpots to multiple winners via the internet. The ease of YouTube did not suddenly usher in a cadre of web-only TV shows to compare with The Walking Dead, Game of Thrones, Arrested Development, or The Wire.

I'm being intentionally harsh. I want to get you thinking about the system: It's rigged, and it's rigged against you -- and as much as you think you're participating in a Revolution, you're still letting the Lottery Winners of Publishing skew your expectations. Amanda Hocking, J.A. Konrath, E.L. James, and John Locke are not your business model. The model you want to emulate is not the major publishers, c. 1980-2000yesterday, but instead the pulps of the 1920s and 1930s:

  •    
  • We Need E-Pulp.

 
What's the deal about Pulp?

So, what's the big deal about Pulp? Why should Ebooks aspire to that?

Right now E-books are the new Dime Novels. In the late 1800's, on the back of new publishing technologies and the rise of mass literacy, there was a "Publishing Revolution" (actually several) in the form commonly called Dime Novels. The name came from the first series, Beadle's Dime Novels, establishing the norms of the format: 100 page paperbacks, roughly 6½" by 4¼", lurid adventure tales with breathless titles.

But the dime novels often were not the platform for a writer's success. As the Wikipedia Machine recounts:

As noted, much of the material for the dime novels came from the story papers, which were weekly, eight page newspaper-like publications, varying in size from tabloid to a full fledged newspaper format, and usually costing five or six cents. They started in the mid-1850s and were immensely popular, some titles running for over fifty years on a weekly schedule. They are perhaps best described as the television of their day, containing a variety of serial stories and articles, with something aimed at each members of the family, and often illustrated profusely with woodcut illustrations. Popular story papers included The Saturday Journal, Young Men of America, Golden Weekly, Golden Hours, Good News, Happy Days.
 
Although the larger part of the stories stood alone, in the late 1880s series characters began to appear and quickly grew in popularity. The original Frank Reade stories first appeared in Boys of New York. Old Sleuth, appearing in The Fireside Companion story paper beginning in 1872, was the first dime novel detective and began the trend away from the western and frontier stories that dominated the story papers and dime novels up to that time. He was the first character to use the word “sleuth” to denote a detective, the word’s original definition being that of a bloodhound trained to track.
And it was in part technology that paved the way for the transition from the Dime Novel era to the Pulp era:
Demise
 
In 1896, Frank Munsey had converted his juvenile magazine, The Argosy into a fiction magazine for adults and the first pulp. By the turn of the century, new high-speed printing techniques combined with the cheaper pulp paper allowed him to drop the price from twenty five cents to ten cents, and the magazine really took off. In 1910 Street and Smith converted two of their nickel weeklies, New Tip Top Weekly and Top Notch Magazine, into pulps; in 1915, Nick Carter Stories, itself a replacement for the New Nick Carter Weekly, morphed into Detective Story Magazine, and in 1919, New Buffalo Bill Weekly became Western Story Magazine. Harry Wolff, the successor in interest to the Frank Tousey titles, continued to reprint many of them up into the mid-1920s, most notably Secret Service, Pluck and Luck, Fame and Fortune, and Wild West Weekly. The latter two were purchased by Street & Smith in 1926 and converted into pulp magazines the following year. That effectively ended the reign of the dime novel.
 
The Pulp Writers and the Editor

In my younger days, I only ever heard of dime novels by reference, but I was directly touched by the Pulps. As I grew up as a young Science Fiction fan, some of my favorite work had originated in Pulp SF magazines. Isaac Asimov's "Foundation" series originated as a series of eight short stories in Astounding Magazine. As he recounted in a collection, "the Early Asimov", the premise was based on ideas in Gibbon's "Decline and Fall of the Roman Empire", and was invented while he was on his way to a meeting with the Editor of Astounding, John W Campbell.

Indeed, I only came to fully appreciate how much the Pulp Magazines had contributed when I returned from teaching Math in Grenville, Grenada, and had to fill a year before heading off to Graduate School. With my pending departure, it was difficult to get skilled employment, but in the late eighties in the rural areas near Columbus, it was possible to get work as an unskilled temporary industrial laborer. I was staying in an apartment rented by my father in a college town, and one of the ways I saved money was to walk up the hill to the college and explore the college library.

One of the things I found in that college library was a quite long run of Astounding and several other old Pulp SF Magazines. So between random shifts at work and trying to learn how to program my Commodore 128 and/or 64, I spent a lot of time diving into those old magazines, seeing how the genre I had first encountered in novel form as it had originally emerged.

Cheap pulp paper and high speed printing may have been what made it possible to sell a pulp magazine that often included work of about the length of a Dime Novel along with a collection of other short stories in a genre ~ detective mysteries, speculative fiction, horror, romance ~ at what had been the price of a Dime Novel alone. But it was the Editor that made a Pulp Magazine into a success.

The Editor didn't just identify which submissions would be of interest to the reader, fix the spelling and plop it in. The Editor also identified the writing talent, and worked with their writers to ensure an ongoing supply of the kind of work that the Pulp's readership was selling.

This is perhaps the most important element in what Matt Blind calls "the escalator". The writer must, of course, still write. But in the modern version of the Dime Novel Ebook publishing "revolution" (where 'revolution' is more in the literal sense of coming full circle), an author is self-publishing through the primary Ebook channels. The author has to do the market the work and therefore their name. They have substantially less than a year before it falls back into the vast ebook back catalog, and had better have another book written in the meantime.

And they have to do the editing of their work: not just the copy editing (though for many ebooks, a bit of copy-editing would go a long way), but the core editing, the discussion of what the work is trying to do, what parts succeed and what parts need more work. There is no telling how many hopeful new self-publishing writers languish for the lack of a good editor.

And as important as the editor is, there is also the question of visual impact. Those lurid full color covers and inside the magazine black and white story illustrations did not draw themselves. Even though the work is worksmithing, effective visual illustrations cut through and get notice in a way that often cuts through the frontal lobes and reaches back into the older emotional centers.

That's what Ebooks need to do: move ahead from re-inventing the Dime Novel, and reinvent the Pulp Magazine. Provide the editorial and marketing and graphical arts support to allow writers to both become better writers, and also, as Editors find the writers that will appeal to their existing audience, help the writers find their audience.

 
Considerations and Contemplations

So Ebooks are not yet the new Pulp ... but they ought to be. An Epulp foundation would offer the opportunity for "midlist" writers to have a stable platform, grow their audience, and as they discover which of their works are most popular, a launching pad to put a freestanding work further up the slope of the forbidding power-law distribution of self-publishing ebook success.

New technologies do open up the door to new opportunities, even while re-using the core of the institution of Pulp Magazines. The high fixed costs of a print run meant that even the independent Pulp publishers needed a certain threshold level of capitalization. Take those fixed costs away, and there may well be fewer obstacles to establishing a new Epulp as a cooperative. Indeed, a group of people who are not just aware but engaged in social networking media, possessing a core of production, editorial and graphical arts skills, could launch an initial Epulp run on the basis of their own written output, and reinvest sales proceeds into opening up to submissions at a page rate and share of sales ... and the number of submissions purchased carefully balanced against cash in hand ... so that the entire enterprise could be launched on the basis of sweat equity.

Get sweat equity cooperatives along those lines established, and even though a market of readers is being tapped in much the same way as the Pulp Magazines did ... that really would be something that would merit being called a revolution in publishing.

Originally posted to BruceMcF on Mon Jun 03, 2013 at 03:00 PM PDT.

Also republished by Community Spotlight and Readers and Book Lovers.

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Comment Preferences

  •  There has already been some discussion of this ... (32+ / 0-)

    ... elsewhere, with SF author Tobias Buckell, source of the launchpad argument, disputing the core point here, and SF and Fantasy author Phillip Brewer talking largely in support of the concept here.

    The post was originally published at Voices on the Square.

    Support Lesbian Creative Works with Yuri anime and manga from ALC Publishing

    by BruceMcF on Mon Jun 03, 2013 at 02:55:04 PM PDT

  •  There is now no place (12+ / 0-)

    for the talented line editor to get paid.

    Publishers (I mean traditional publishers) have long expected their acquisitions editors (or their assistants) to do the work.

    But acquiring is an entirely different skill from line editing. And assistants usually aren't that skilled in line editing either.

    So it falls to the copyeditor...who might not even know what IHOP means, having lived in NYC all his/her life.

    E-publishing isn't likely to correct this lack. I merely mention it b/c the lack of talented line editors directly correlates to stupid errors in published books -- and it doesn't matter whether those books are dead tree or E editions.

    Irony takes a worse beating from Republicans than Wile E. Coyote does from Acme. --Tara the Antisocial Social Worker

    by Youffraita on Mon Jun 03, 2013 at 03:27:47 PM PDT

    •  Yes, this is an extension of this argument ... (5+ / 0-)

      ... the essay is not saying what ebooks will likely do, but advocating what could be done with the new technology.

      Get going concerns going along these lines, and sooner or later they would be able to afford to hire and pay line editors.

      Support Lesbian Creative Works with Yuri anime and manga from ALC Publishing

      by BruceMcF on Mon Jun 03, 2013 at 03:48:25 PM PDT

      [ Parent ]

      •  sigh. (1+ / 0-)
        Recommended by:
        jabney

        Y'know, traditional publishers used to be able to hire line editors...in a lifetime well before mine. But publishing is a very low-profit-margin industry. VERY low-profit-margin.

        And the shareholders want all the money they can wring out of the venture.

        I just don't see how E-publishing changes that dynamic.

        It might work if it's a family-owned publishing house (paper or E, doesn't matter). But not one of the publicly-traded ones. Never gonna happen.

        Irony takes a worse beating from Republicans than Wile E. Coyote does from Acme. --Tara the Antisocial Social Worker

        by Youffraita on Tue Jun 04, 2013 at 02:21:48 PM PDT

        [ Parent ]

  •  Pulps are back though (7+ / 0-)

    Amazon's Kindle offerings are overrun with them and so many of them are awful. I have Prime so I read a lot of them for free.

    I'm okay with it, just that damn, some of these folk ought to consider asking their English major friend from Uni to take a look at their pieces.

    Here's one concept I liked: John Scalzi serialized his latest novel The Human Division in e-form. His publisher last year decided that they'd have no more DRM on any of their products, and it's worked out for them very well.

    (I've often wondered if someone other than jabney would serialize fiction here at dkos. I think it's a good idea, but you won't make any money.)

  •  I see a big market for new Cthulhu mythos novellas (4+ / 0-)
    Recommended by:
    BruceMcF, quill, ichibon, dallasdunlap

    using the tea party cultists and the Kochs as high priests...

  •  This must be kismet! (7+ / 0-)

    I was just at a panel discussion on this topic at Philly Comic Con and I got the idea to publish a collection of my sci-fi short stories electronically once I have enough of them.  For now I'm still trying to get published in science fiction magazines, but I figure I'll have enough material to give it a try soon.  Thanks for posting this!

    There are those that look at things the way they are, and ask why? I dream of things that never were, and ask why not? -Robert F. Kennedy

    by JSCram3254 on Mon Jun 03, 2013 at 05:53:43 PM PDT

  •  This is a great idea... (4+ / 0-)

    I mostly read anthologies nowadays, because I no longer have time to sift through everything there is in order to decide what I'll settle down with and read.  And the anthologies I choose are based on the editor that put them together. Through the editor, I find new authors.

    This is one -- no actually, the only place I've found that middlemen prove their worth.

  •  Doesn't this kind of make Pulp a mindset? (3+ / 0-)
    Recommended by:
    BruceMcF, ichibon, jabney

    Love the piece, BTW Bruce...

    I'm doing a 1/2 hour weekly web series, and wearing all the hats - it's insane!

    But I think I kind of have that pulp mindset. Screw it! I'm doing it. Would it be better with a budget? Yup. But it doesn't matter. It's getting done. We are sharing our ideas with people in a meaningful way. That's cool.

    I think that is kind of the pulp thing. That lonely, thankless, joy of making something and the hope of making a living at it or enhancing your life with it.

    I think that's pretty cool.

    Can't wait to check out teh comments.

    Democracy - 1 person 1 vote. Free Markets - More dollars more power.

    by k9disc on Mon Jun 03, 2013 at 07:08:39 PM PDT

  •  And (3+ / 0-)
    Recommended by:
    MT Spaces, wonderful world, jabney

    my novel (753 pages) is 18 bucks and 9 for the Kindle version

    http://www.amazon.com/...

    but it's an unparalleled work of sprezzatura (if that is what I mean) so you gotta expect to pay more.

    Here's a list of who is in it in order of appearance so buy now or be sad.

    The Poet B
    The Fellow “T”
    Joe Green
    Peter S Beagle
    The Loneliest Ranger
    Gogol’s Nose
    Bob Dylan’s Bathtub
    The Cat Jeoffrey
    Sam Culotta
    Silky the Queen of Romania
    Pancho and Lefty
    Odysseus
    Ahab
    Mercutio
    Tiny Tim
    Jack The Depressed Poet
    David Dalquist, inventor of the Bundt pan, and founder of Nordic Ware  
    Karl Mueller, Soul Asylum bassist
    Little Debbie
    Omniscient Narrator
    God
    The Flying Monkeys
    The Jim Jims
    The Scarecrow
    Rin Tin Tin
    The Armored Ladybugs of Slanth
    Plurissa the Elven Queen
    Commander Getz of Chicago
    Rosenkrantz
    Guilderstern
    Mark the Lepanto – the World’s Greatest Economist
    Hamlet’s Father’s ghost
    Zachary Polyanthous O' Boz
    Jeri Jerry
    Adjunct Professor Pro Tem Byrd
    Othello
    Desdemona
    Elijah Wood
    Uomo Senza Nome
    Paris
    Marty McFly
    Doc Brown
    Tim Smith
    Richard II
    Dizzy Dean Fallwell
    The Chevalier D Noel Patane
    Sir Valentine Ravenscar (Ravenscar J. Spaulding)
    Chris Millen of Glasgow
    Mark the Lostlenore
    The Shadow
    Professor Moriarity
    The Insidious Doctor Fu Manchu
    Darth Vader
    Mr. Mxyztplk (pronounced mix-yez-pit-el-ick –
    Sauron of Mordor
    Death
    The person from Porlock
    Baldur
    Don To Wit To Wooh Tree of All
    The ghost of Vissarionovich Dzhugashvili known as Stalin, Father of All Nations!
    Harpo Marx
    James Bond
    Adolph Hitler.
    Flit Doomney
    A Fucking Liar from Wisconsin
    Santa Claus
    The White Kitty
    Harvard the Old Poet
    King Kong
    The Maltese Falcon
    Sam Spade
    Dracula
    Fezziwig,
    Howlin’ Wolf
    Ole Anderson
    Miss Tara Birch
    Al of the NightHawk
    Two Goons (the Killers)
    Loki
    Satan
    Giuseppe! Verdi
    Zeus
    Freya
    Salieri
    Commander William John Harper (Sir Cockup Codswallop)
    Gwen the Widder Maker
    Sylvester the Cat
    The Midnight Cowboy
    Jimi Hendrix
    Geoffrey the Wangdoodleless
    Diogenes
    Mr. Micawber
    Andy Warhol
    Stuart One Rhymer
    Uncle Joe
    Jean Marie Green
    Alien Jesus Christ (XLANTH)
    Jesus Christ
    Sister Eucharista
    Steve Snyder
    Chester Anderson from Waldenville
    Homeless Man reading “The Count of Monte Cristo”
    Homeless Man Eating Animal Crackers

    The Corn God
    Syd, owner of John's Cosmopolitan club in Deep Ellum
    Rich, the drunken Vietnam veteran
    Ayinde Jones
    Mrs. Dora Spaulding
    Heckle Spaulding
    The Loneliest Loneliest Ranger Huddie ledbetter (Leadbelly)
    Walt Whitman
    Richie Holleran
    Weldon Kees
    Sergeant Major Gilmore Davis
    Charlie Solomon
    Dorothy Kilgallen
    Miss Watson
    Aunt Polly
    Jim
    Henry James
    Holden Caulfield
    Raskolnikov
    Emma Bovary
    Stephen Deadass
    Mark Twain
    Virgil Tibbs
    Leo Tolstoy
    Anna Karenina
    Dondi
    D'Artagnan
    Portos
    Athos
    Aramis
    F.Scott Fitzgerald
    Ernest Hemingway
    Zelda
    Voltaire
    Woody Allen
    Long Johns Silver
    Captain Flint
    Tom Sawyer
    Huckleberry Finn
    Mr. Thomas Fellenbaum, with his dog Smedley
    Tinkerbelle
    Young Werther
    Dan Ackroyd
    The Easter Bunny
    Jimmy Valentine
    Deputy Barney Fife
    Andy
    Gomer
    Goober
    Floyd
    Aunt Bee
    John Keats
    Jethro Bodine
    Eliie May Clampit
    Grandma Clampit
    Pa Clampit
    Philip Jose FarmerHal
    Hal
    Henny Penney
    Commander Leghorn
    Peckatus
    The President of the United States Ralston Valentine
    Miss Florence
    Johnny Wasko
    Bill Peake
    Jose the Diving Horse
    Mr. Pickwick
    Gertrude the Tic Tac Toe Playing Chicken
    William Shakespeare
    Ezra Pound
    Babe Ruth
    Lou Gehrig
    Ebenezer Scrooge
    Tush Bimball
    William Butler Yeats
    The FALLON
    Jeckel Spaulding
    The Munchkin Liberation Front
    The Wizard of Oz
    Homer L. Seastrunk
    The Tarbard
    George Noel Gordon, Lord Byron
    Don King
    Charlotte
    Charles Dickens
    H.G. Wells
    Captain John Charity Spring M.A
    Abraham Lincoln
    Jabez Stone
    Sir Harry Flashman
    Robert Johnson
    Admiral Wilhelm Canaris
    Colonel Sammel
    The cast of “La Boheme
    Richard Wagner
    International Brotherhood of Railway Porters
    Cat Stevens
    Paul Butterfield
    The Strawberry Alarm Clock
    Grace Slick
    Jerry Garcia
    663
    King Arthur
    La Belle Dame Sans Merci
    Priita the Amazon Queen
    Davy Crockett
    Oscar Wilde
    Lord Alfred Douglas
    Mr. Jacques Derrida
    Tigger
    Maurice the bell hop from "The Catcher in the Rye
    The Cheshire cat
    The Sad English Majors of the Night
    Old Forty Year Old Guy Returned to School
    The Guy Who Loved Blake
    The philosopher William James
    Shoeless Joe Jackson
    Opie
    Mel Gibson
    Sam Beckett
    the Nabokov Squirrel
    Ray Bradbury
    Willie Mays
    Henry Wiggens
    Moonlight Graham!
    Leon Carter.
    The “Bingo Long Traveling All-Stars & Motor Kings
    Josh Gibson
    Dottie Henson of the Rockford Peaches
    Crash Davis
    Nuke Laloosh!
    Roy Hobbs
    Eddie Harris. “Mr. Spitball.
    Gil Gamesh.
    VAN LINGLE MUNGO
    Tito Fuentes
     Roy Campenella,
    Ted Williams
    Grover Cleveland Alexander drunk.
    Ping Bodie
    Cool Papa Bell
    Ernie Banks
    Three Finger Brown
    Joe DiMaggio!”
    Walter Johnson! The Big Train!”
    Stan the Man!
    Herb Pennock! The Knight of Kennett Square!
    Nap Lajoie
    Minnie Miñoso
    Satchel Paige
    General Ulysses S Grant
    General Robert E Lee
    President Teddy Roosevelt
    President of the United States, Franklin Roosevelt
    Martin Luther King
    Woody Guthrie
    Winston Churchill
    John Milton
    John Donne
    Richard Lovelace
    J. D. Salinger
    Seymour Glass
    Saul Bellow
    James Dean
    Wystan Hugh Auden
    Tiny Tim (from “A Christmas Carol”
    Norma Desmond
    Orson Welles
    Gandalf
    Gabriel Garcia Lorca
    President of the United States George Washington
    The Flit Domney Entity
    The Chamber of Commerce
    Michael Caine
    John Lennon
    Rod Serling
    Cecily
    The Fool
    Leon
    Timothy

  •  The important thing about pulps was the (1+ / 0-)
    Recommended by:
    BruceMcF

    escalator. Writers could develop their skills and get their names known by writing short stories for pulp magazines. Eventually a well known writer might start getting book contracts.
       The pulps may have had fewer outright errors (misspellings, broken sentences) than some of the self-published stuff, but some of the stories in the pulp mags just weren't that good. So I think that the wailing about lack of editing is overblown.
       IMHO, much of the off-putting "editing" issues in e-books are due to the transition from writing for a hypothetical publisher to writing self published e-books. My first novel was written on several different computers and I simply uploaded it to Kindle. Covers were not as important then, since the first e-readers didn't have color displays. All the feedback I've gotten on "The Cabin" has been positive and nobody but me seems to have noticed the quirky chapter organization, but...
       Now, you need a good cover and interactive table of contents. Writers know that, so I think you'll see e-books getting more and more professional looking.
       As for the escalator - I don't know. There are blogs and social media, but I personally haven't solved the problem of marketing. I'll give it my best shot, though: amazon.com/author/dallasdunlap
     

  •  I want to buy in on ebooks so badly... (3+ / 0-)

    I mean, I read them... a lot.  And this from someone who used to collect 20th-century first-editions that I boxed and mostly sold to switch over to the e-medium.

    But... all I'm doing is now reading the exact same things I would have without an e-reader only I make the conscious effort to get an e-copy.

    But holy hell there is SO MUCH unfiltered absolute gobshite out there.  It is hard to wade through; it is daunting at HOW BAD some of it is. With so many so-called clearinghouse websites cropping up to peddle this swill you also have to contend with the "Etsy Effect" where the creators of this typeset-equivalent of macaroni art all just blindly cross-recommend each other's Opus Minus so you can't even rely on peer-reviewing or recommendations.

    The company that comes up with the iTunes of eBooks will make a killing and I will be an early, and grateful, customer.

    Красота спасет мир --F. Dostoevsky

    by Wisper on Tue Jun 04, 2013 at 06:50:12 AM PDT

  •  ok your articles title (1+ / 0-)
    Recommended by:
    wonderful world

    Struck me as bs.. truelly annoyed me and sounded like hype about a stil minor technology..

    Also this is an awesome article with a Lot to think about. I hope you continue to contemplate and share.. because deep down i am a fiction writer in the soul. Just not confident enough to risk it again...

    A man is born as many men but dies as a single one.--Martin Heidegger

    by cdreid on Tue Jun 04, 2013 at 11:56:56 AM PDT

  •  My grandfather was Howard Browne (3+ / 0-)
    Recommended by:
    jabney, Renee, BruceMcF

    who took over Amazing Stories from 1950 - 1956. He's the one who took it from a magazine to a digest. He also wrote a heck of a lot of the content during the years he was the managing editor, under several different names.

    I'm a multi-published author who just put up my first ever e-book today.

    Guess it runs in the family or something.

    http://www.amazon.com/...

    A weapon that is also a treasure is certain to be used.

    by wonderful world on Tue Jun 04, 2013 at 03:34:44 PM PDT

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