How and why you should niche publish your book!

Niche_CoverThe rationale and process are explained in the 21 free blogs listed below. All are found at this site.

The first six blogs explain what “niche publishing” is and why every publisher (and every expert of any stripe) should be running to get in line before the others catch on!

So you can quickly pick the information that you most want to know about “niche publishing,” here is a concise summary of its benefits.

If you “niche publish” rather than publish “the regular way” you could…

* earn far more money, much faster, with nary a nick of risk!

* you’ll never have to compete with big-house publishers,

* you’ll never have to sell through bookstores, and

* from the topic you select you could create your own very profitable, life-long empire—with YOU the empress or emperor. By expanding your sphere of buyers, the benefits of your book and message will continue to multiply your appeal, which will continue to bring you more money even faster—

 

“Niche publishing” (and “niche marketing”) aren’t magic. But they bring two huge benefits that standard publishers can’t provide.

The first is pre-testability. That means that before you write or print a page of your book, you can pre-test it to see (1) if that book will sell enough copies (that is, the rough number of copies that will be bought and by whom), (2) if the title works, and (3) if you chose the right problem to solve or needs to be met, the right benefit(s) to promise, a persuasive table of contents, and the right author. If the test results yell “GO!”—go. If not, retest until you get the right pre-test response. Or write another book, then build your empire around that book. (The cost of the test? $500-600? Under $1,000. If you as a niche publisher using the self-publishing process expect to receive $100,000 gross from your book sale; $50,000 net; and the test may cost 1-2% of returns. If the test is no-go, that’s a 2% risk. Take that bet every time!)

The second benefit is that your niche book can be the core product of an empire that can triple your book income every year, and multiply that again from spin-off or related books, MP3s, videos, seminars, speeches, reports, consulting, and classes that you can offer or sponsor to your eager book buyers and their colleagues. Why? Because your book, targeted specifically to those buyers, proves that you’re an expert in their field, that you and your guidance can solve their problems and fix their frustrations. Why wouldn’t they rush to buy more good stuff from you in book #2 or through a dozen other empire-linked ways once you have proven that what you say or show works as promised?

So that’s where two elements linked to this blog play key roles.

In 2008 I published a book called Niche Publishing: Publish Profitably Every Time. See www.nichepublishing.org for full details and the book’s table of contents. That book has sold out in four different renditions, and the paperback issue is still unavailable (unless Amazon is selling old copies of it and keeping the royalties.)

Eureka! The original, last version is still alive in digital format. It’s available for $7. We offer it, instantly downloadable, at www.gordonburgett.com.order3.htm.

I’ve offered 100+ four-hour seminars about niche publishing and have had the opportunity to hear every question, challenge, and suggestion about the process. I still remain convinced that, done as suggested, it is still the best process (with the least risk, if any) and the fastest and safest way for self-publishers to enter the field and reap the rewards.

Alas, while here are many “empires,” as I call them, prospering today, it’s more difficult to tie them directly to the emergence of one book and one gutsy, hard-working emperor or empress drawing their buyers to the empirical central theme.

What I see more often is a speaker emerging from a topic field with a new idea or process and a following drawn from attendees at their seminars, keynote speeches, or breakout sessions. Somewhat less obvious is the leader’s book that serves as the central focus of the unique message the “leader” comes to represent. But what stays as the binding tool as that “empire” takes form is the book, and spin-offs from it, that continue to give substance and breadth to the person and their idea. The point: empires are usually built from a book’s foundation.

Final points.

If niche publishing seems to fit your path of development, the one element least discussed but most needed is likely shared as much by you as it was by me: we can build our niche empires faster, better, and surer if we take the time to create a solid strategy for growth. Then focus on one message, like the big tree, from which our modest forests will eventually grow. Make oneself “the” core of something that others in our orb need for their own development. Write “the” book that your colleagues must master to create (or at least establish) their own excellence. Focus there, spread your process and message until its name and your become synonymous. (The topic of self-publishing is synonymous with the name Dan Poynter. That began with his book The Self-Publishing Manual.)

That’s where the remaining 21 blogs fit in. They answer the questions a “niche publisher” must ask. They are trees in our forest. Combine them with Niche Publishing: Publish Profitably Every Time!

 

Where are those other 15 “magic” blogs?

Go to blog.gordonburgett.com (if you’re not reading this blog at that site) and all 21 blogs are there waiting for you! When a blog opens up, go to the search box in its upper right corner. Then select and type some key words from a selected blog title, open it with your mouse, and that chosen blog will rather miraculously appear. Hiding the same way is where you’ll also find the 20 more niche-related blogs.

Even if you just type “niche,” about 10 assorted niche-related blogs will appear, and if the sought blog isn’t there, continue downward to the end of that blog chain to where it says “older” or “newer,” and in the subsequent lists of “niche” blogs you will find what you are seeking…

Here are the titles of the 21 blogs that help explain “niche publishing”:

Niche Authors and Publishers:

* Make a bundle almost risk-free by publishing niche books.
* Why niche publishing is a much better deal…
* Ten advantages to niche publishing.
* How niche authors and niche publishers share the gold.
* Niche books are very profitable. How are their authors chosen?
* Why you may not want to niche publish.

The Niche Blog Bundle:

#1. What’s so good about niche publishing?
#2. The goals and assumptions of pre-test publishing.
#3. How do you define (or find) a profitable niche for your book?
#5. Are you a niche writer, a niche publisher, or both?
#6. How much should you charge for your book?
#7. How much does it cost to pre-test your niche book?
#8. Get a free mailing list for your niche book pre-test.
#9. Two sample notes to pre-test a niche book.
#10. A sample flyer like those used in niche book pre-testing.
#11. A postcard to know your niche pre-test book results!
#12. It’s time to actually test your niche book!

More about Niche Pre-Testing:

* 25 key steps about pre-testing your niche book.

Niche Speaking:

* Niche Speaking: Cash in with fewer (but more devoted) listeners.

Niche Book Marketing:

* 101 niche marketing topics.
* Can we sell two new books by using 12,200 jumbo postcards?

(Incidentally, there are 400+ writing-, speaking-, and publishing-related blogs also lurking on this page quietly awaiting your visitation!)

That’s it. Best wishes to you with your “niche publishing.” I do consult in this area so if I can be of assistance, please contact me at glburgett@aol.com.

Best wishes,

Gordon Burgett




Selling one article topic to 5-8 different publications!

“Could you sell the same text, unchanged, to both magazines and newspapers?” is the most often asked question at my writing seminars!

I suppose you could, but I wouldn’t because I wouldn’t know how to unravel the rights issues. Anyway, it’d be far more profitable with a lot less work just planning five to eight sales from the same fact (and photo) pool.

Here’s how I might sell one topic (in this case, the Chicago River on St. Patrick’s Day) as widely as possible for the most yield and the least amount of additional research, composition, and jpg taking?

1. I’d first query the idea to the highest paying magazines (in order, one at a time). Then I’d write my lead article for the first editor giving me a “go-ahead.” This article might focus on a St. Patrick’s Day special, a big deal in the Windy City because at 9 a.m. that morning the Chicago River turns orange for a few minutes until (it’s said) the leprechauns switch it to green so lush it puts tears in every O’Brien eye—and stupefies much of the rest of midland America as it flows in reverse to the Illinois River and the Mississippi to and past New Orleans! Some 400,000 visitors a year line the downtown Chicago bridges, then watch the St. Patrick’s Day Parade march through the city that day at noon, rain or shine.

2. After that magazine article (sold first rights) appears in print, I could sell it exactly as is to any other magazine as a reprint. (If you sold the photos first rights too—or for one-time use—you could also sell them to the same [or other] reprint buyers!)

3. But since I’ve got a box full of facts and quotes, why not query, then write another main article about a similar happening that takes place the same weekend: the Flower and Garden Show at Navy Pier (nearby, on the same verdant river as it reaches Lake Michigan)? This is a loose example of a rewrite since you can slip in the key points about the concurrent St. Patrick’s Day festivities. All you have to do is rewrite that used text, which you’d have to do anyway because it must be in a different layout for both publications. Or you could call this rewrite “Chicago’s Greatest Gift: the St. Patrick’s Day Parade and the Flower and Garden Show Side by Side!” (What a title!) Since this magazine piece is a first-rights sale, why not sell this distinct offering to other magazines seeking reprints?

4. We’ve still not sold to the newspapers! I would significantly rewrite either of the magazine articles (or mix and match) in newspaper fashion, give the result a different title, and maybe try for a national newspaper sale first. Since this is a major set-date activity (like Christmas or Easter), most major newspapers look for event-related special articles. So I would query here several months earlier so it can get scheduled, then work out the special submission process with the travel editor.

5. Or if the national newspapers aren’t enchanted by the Chicago Journeyman Plumbers’ river magic, I’d send it simultaneously to all of the Midwest newspapers 100 miles away from each other to see if I can spin the special event one last time (this year), before the emerald is long gone.

6. And, of course, I’d handle the photos myself so I could sell them as widely as possible without messing up their rights!

By March 1, 2016 I will release a brand new book about this topic where each of the resale means to magazines and newspapers are explained in detail. Those are simultaneous submissions, reprints, rewrites, reprints of rewrites, rewrites of reprints, modified reprints, sidebars, overseas sales, and shorts. Check Amazon Books under Gordon Burgett for the still-undecided title and release date–or email glburgett@aol.com for specifics and cost.

Best wishes,

Gordon Burgett




Article you're submitting need a sidebar? Here's an example...

Typically, as I write a “go-ahead” article, I encounter some additional facts that are so spectacular or unique I think they would make an interesting sidebar or box, in or near the printed article, to excite the readers and add much substance to the article without changing its primary structure. So I write and send a sidebar cover note (see below) by email or snail mail to the editor, reminding him/her of the subject of the article of mine they are considering or just accepted. Here, I share some of the most exciting facts (for baseball fans) that apply to the first year that the Cubs (and the National League) were in existence: 1876. That’s it. He/she will likely respond by email, a short yes or no, with a suggested content size.]

Sidebar Cover Note

Dear Ms So-and-So:

I doubly appreciate your giving me the go-ahead on the article “Wrigley Wouldn’t Recognize His Field.” I’m shooting to have it there within a week. But as I’m gathering current facts amid the cranes and disappearing bleachers, I wondered if you’d also want a Chicago-based sidebar (or box) about the earliest Cubs, long before P.K. Wrigley was in baby britches.

Here are some of the items it might contain:

1. The Cubs are the oldest team in the National League. They played from day one, in 1876—and won the first pennant by beating the Louisville Dark Blues in six games. Called the White Stockings then, they finished the year with a 52-14 record. (They didn’t use the name “Cubs” until 1907.)

2. Chicagoans also gave birth to the term “out of left field” in their early years. The left field in the pre-Wrigley playing grounds butted up to a many-storied insane asylum, and when the crowds made too much noise the lunatics screamed out the windows and banged on pans. Their comments truly were “out of left field.”

3. Al Spalding (of later sports equipment fame) managed that team, plus he helped write the first set of official baseball rules. He also pitched in 60 of the 66 games they played in 1876, winning 47. (Spalding was also the only pitcher on the team wherever he played, winning more games in his six professional baseball seasons than any other player in the league.) Al was the first major league player to use a fielding glove. His total pitching record was 252-65 with a 2.15 ERA and a .313 batting average! He also owned the team for a decade.

4. Players had no numbers or names on their uniforms then so crowds only vaguely knew who they were or what they did. Spaulding’s solution one year was to assign each position a different color, and the player there wore a hat that was colored to match the position’s hue. The fans called the team the “Tulips.” Hats (and baseball gloves) were sold, of course, by Spaulding.

5. Ross Barnes took most of the rest of the honors that year, batting .429 in 1876, hitting the Cub’s first home run, and winning nine of the other 10 major categories that inaugural season (hits, RBIs, runs, and so on…) But he got the ague (a fever) in the Windy City after 22 games in 1877 and never fully recovered. Fortunately, “Cap” Anson was there to pick up the slack, and, later, Tinkers, Evers, Chance, Hornsby, Dizzy Dean, and Grover Cleveland Alexander.

That may seem like a lot of numbers for a sidebar, but what numbers! And those reading about Wrigley Field will be Cub fans eager to relive those golden days. They are also hoping that the new playing grounds will bring the glory back.

If that interests you, on speculation of course, please let me know. It would help if you would indicate an approximate number of words you’d like in the sidebar.

Many thanks,

Gordon Burgett

————

P.S. This is an excerpt from my book Profitably Resell Your Copy Again and Again (and Again)…, with the subtitle Magazines, Newspapers, Reprints, Rewrites, Modified Reprints, Sidebars, Sales Abroad, and Other Copy Resales. Available from Create Space and Kindle after March 10. Or contact us for details.




Some thoughts about interviewing...

This is an excerpt (part of a chapter) from my coming book, Interviewing. I talk about tools and means used to interview:

Interviewing is mostly you asking questions to a person or, rarely, a group, and receiving an intelligible response in return. When you record what you asked and what they replied, that is the thinnest skeleton of a completed interview.

That’s a bit simplistic but most of the rest just adds bulk and hope to the process.

A huge percentage of my interviews have involved direct communication with my target person. More than half were done eye to eye (really mouth to ear), and most of those were done when I was learning how, usually on the road last century gathering travel material. I asked and they responded, and I translated and wrote what they said into a notepad, in a kind of shorthand that spontaneously evolved (nouns mostly, other key words underlined.) It was give and take, staccato fashion, one question/a reply, segues… My goal was about five minutes, which was a long time for them and for me. It rarely lasted 30 minutes; an hour interview never happened.

Well, that sense of brevity may be somewhat misleading because many “interviews” became conversations, and ended when it was comfortable or necessary to do so. If the other person wanted to keep talking I was usually game to do so (unless I absolutely had to be somewhere else right then–sometimes we resumed the exchange later over lunch or coffee.) Other times they just wanted someone to talk to, or were lonely, or were proud of what they had done or seen and wanted to share more of it. That was fine. Often it gave me more, better information and a deeper interview.

Occasionally I was drawn to an interviewee. I wanted to know them better, and (hard to believe) that seemed mutual. They were interesting, often passionate about some cause, and they almost always bubbled or bristled with humor. What they said was worth sharing; it was fun; they were worth knowing. A few of those contacts became lifelong friends, particularly those still living.

But mostly interviewing is fast and focused. It’s kind of a dancing duel: you extracting what you need (and hoping for more); them telling you what they want you (and your readers) to hear, hoping they didn’t say too much.

In my mind, first interviews should be courteous, painless, and fairly fast, leaving open the possibility of a later follow-up. But I don’t mention that before or during the first interview other than asking them how I might later contact them should I run into a fact or a phrase that needs clarification and asking for or verifying an address where I would send them a copy of the printed article. (If you offer, do send it.)

Most of my interviews not done eye-to-eye were done by telephone. Those weren’t as satisfactory because you couldn’t tell how much of what they were saying was true, a greased lie, or something in between. Nor did you ever know if the voice you were hearing belonged to the actual person you had called. (I don’t think I ever interviewed a stiff or a stand-in, but surprisingly often they grilled me to make sure I was the journalist they were supposed to be talking to and that I was writing an article for such-and-such a publication. Everyday people took me at face (or voice) value, happy to be the one being interviewed. The higher ups were more likely to have their assistant or caretaker vet or check me out first).

Another telephone problem: the tenuous connection between you and the person you are interviewing—one wire—almost invites the other person to simply hang up or disconnect when they have said what they think you should (or need to) hear. It’s a true test of your interviewing (and inventive) magnetism to be able to keep the other person focused and actively responding. Some of that is created before starting the actual interview by getting the respondent’s buy-in to the importance of the exchange so what they say can reach their target listeners’ or readers’ ears.

My restraint to interviewing by phone was personal—and, in my dotage, still is. I grew up weaving waggish humor and pun-riddled, antic wordplay into my everyday conversation. It drove my few friends crazy. But all of that tomfoolery had to be excised when phone interviewing strangers for print, particularly when they envisioned sparks or bolts of radiated global fame emanating from the article (or even book) they would be in. It was their big moment and they didn’t expect mirth or frivolity—any humor at all—then, particularly over the telephone where smiles are never seen and barely heard. So half of what I normally might have said, or how I might have said it, was verboten and probably dumbfounding. However funny, they never, ever would have laughed. They were expecting to be asked to share gems of wisdom, poignant observation, Christian guidance, and household tips. Out the telephonic window flew my witty high jinks, which left the interviewer, me (or you), nearly speechless, jocularly disarmed.

Alas, nothing is incurable when regular eating is at steak. I immediately reverted to my telephone high school date-getting scheme of imploring (or interviewing) by script. My first 100 or so interviews (it may have been 500) were very, very tightly structured, almost every word written or typed. It looked something like this, although where you see ideas below I had complete sentences, short sentences to give them time to respond:

* wee introduction
* reminder of why I was calling and where their words would be shown to the world
* a question
* a second question—these were the most important answers in case something else interrupted the call—it happens often—and there would be no chance to finish… [more on this later]
* [if something relevant in their reply to my questions was said or hinted at I would ask more, prodding queries about it, to provoke more facts or brilliance]
* a third question
* [if they verbally wandered off and what they said would also interest my imaginary readers I let them wander. I only reherded them back into my imaginary readers’ corral of interest when they wore out or I still had a final question to ask]
* fourth question (or more) if needed. See above.
* anything else, Mr./Ms. ____, that I should have asked but didn’t?”
* “is there a phone number I could use to reach you if I find something I need to verify later?
* “I’ll gladly send you a copy of the printed article as soon as it appears—remember, printing can sometimes take months”
* “is ____ the address where I should send the article, in your name?”
* “thank you again, Mr./Mrs. _____, for the information and your time”
* “it sounds like a very interesting article. I appreciate your kindness and your sharing”
* (hang up softly, breathe deeply, wipe brow, hydrate rewardingly, and type out the whole interview then or before nightly repose)

Interviewing by email, or even by social media, is fast, sometimes too public too soon, and a whole lot less expansive. Combined with Skype or other computer-to-computer linking, it’s fairly easy and much faster to talk with others now—if they agree to talk with you.

For example, …

———————————

This is an unedited extraction of part of an early chapter of a book called INTERVIEWING. Check future blogs for more copy about the topic.

Best wishes,

Gordon Burgett




Here's how to submit changes to your book at Kindle

Here’s a comment/question that I get too often: “I published my book on Kindle but I don’t know how to make changes in it. Help”!

So let me list the steps that will let you tinker or rewrite or clarify your book. Whatever you want to change, the train always takes the same simple track.

Your book enters the Kindle publishing brainworks through two files, one for the cover, the other for the interior copy and artwork. Let’s assume the interior copy was prepared in Word and that you have it stored on your personal computer (or you have access to it). You or another person submitted both of those files at KDP.Amazon.com. And as the publisher you also opened an account at Kindle, which is how you got through the publishing gate.

Let’s say that the book being displayed on Kindle says, on page five, “I am the greatest writer alive.” But others (including the greatest writer alive) told you that claim should be corrected (or painfully censored). So now you want to substitute “After having been the greatest writer alive, I am now number two.” You want to modestly set the record straight.

Get or find the book’s interior copy file, make a digital copy of that file, and set that copy aside, for old-time’s sake. Now go to page five and replace the offensive boast by erasing and retyping a correction. First check to see the font and font size that copy was prepared in. For example, if it’s Century Schoolbook 11-point, make your correction in the same font/size. Give this new file a new name (say, from Book 1-1 to Book 1-2) and save it. That’s how changes begin. Find the original file, change it, and save it with a different name–or you will drive yourself, Kindle, and us batty. Then here’s how to put that “corrected” file inside Kindle so it will appear on monitors (or like devices).

Assuming by now you have a Kindle publishing account, open it up and do the following:

1. Go to the Dashboard, then the Bookshelf.
2. Find “Your Books” and the title of the book you want to change.
3. On the far right side along the book title line find a shaded box with three dots on it, near “Book Actions.” Push “Edit Details.”
4. Go down to #6, “Upload Your Book File.”
5. Open “Browse.” It will take you back to your home files. Find Book 1-2 and open it.
6. Kindle will start downloading the corrected version of your book right away.
7. It may take a few minutes to download. When it’s done, it will invite you to look at the changed book by going to #7, “Preview Your Book.” You will see how fast one can plummet from being the world’s greatest writer to the second greatest.
8. If that’s what you want your book to say (and how you want it to look), check the orange “Save and Continue” box at the very bottom of that section.
9. That will open the #8-#11 section. Below #11 is a wee box that you must check. Read the text you just approved, and confirm it again in a yellow “Save and Publish” box on the lower right.
9. You’re done! But Kindle isn’t. If your book is in English it will take about 24 hours for your changed book to reach eager readers and buyers.

That’s it.

Congratulations on having a book or good news to share at Kindle!

Best wishes,

Gordon Burgett

P.S. This is an updated submission version from my How to Get Your Book Published Free in Minutes and Marketed Worldwide in Days.




Author of Self-Publishing Manual, Dan Poynter, has died...

The author of the best-selling Self-Publishing Manual, Dan Poynter, has died. We were “in the trenches” writing friends and I already miss him, in part because it was Dan’s turn to buy lunch. So will thousands more whose lives he touched and changed. He had been quite ill for a while, seemed to be improving, but, instead, Dan passed away a few days back.

Poynter wrote almost 100 books but he was best known for his Self-Publishing Manual, now in its 14th edition. Many of us exploring the hinterlands of “doing-it-ourselves” publishing, with our starter books (rarely sought, even more rarely bought), pounding away on clunky typewriters and wading in rubber cement, wandering through the last days of the past century, when up popped his how-to gift. The SPM was a light from heaven. It answered questions we didn’t even know we should ask. As Dan learned more, the book kept getting better and bigger. In short order his grateful fans, hat in hand, too often bruised by the titans from Gotham and other bookstore bulk buyers, turned his manual into a huge seller…

Dan was a close friend of mine for lots of decades. We’re a few weeks apart in age (he would never admit it), I lived about 20 miles away, and we seemed to wander into the same ersatz gatherings and adventures, befriending many of the same odd people, and we quietly joined the Independent Book Publishers Association (IBPA)—Dan helped birth it—and the National Speakers Association (NSA).

He was a tall, quiet fellow who gave freely of his knowledge. Many know that he was President of the Parachutists Assn as well. He joked that he married the thrill of descent (he was a life-long bachelor), and was faithful to the end.

In fact, rather than using his law training Dan set up and ran a loft in Oakland. His publishing career (and life) started when he couldn’t find a book about parachute knotting that his clientele needed, to get licensed. “I knew as much about publishing as some poor soul tapping rubber trees for a living,” he told me. So he contacted every company however involved with knotting and made copies of the diagrams and instructions they sent back, pulled them into a $40 three-ring instruction manual, wrote the conjunctive copy, then bought a dandy house near Goleta (Santa Barbara) from the profits. It overlooked the Pacific Ocean east of the UC Santa Barbara. From his front porch you could see the only American mainland target attacked by the Axis in World War II, an oil tank sighted by the misdirected Japanese Navy.

I first met him at a free lunch where Xerox was showing their brand new copiers to a bevy of hungry writers (becoming publishers). We passed on the street a couple of times but we didn’t really meet again until he tried to kill himself (inadvertently, he claims) by falling 100+ feet straight down and almost impaling himself on a volleyball net pole on East Beach. He had written (or was writing) a book about Parasailing (or was it Paragliding? He also wrote a pile of other weird books). There was a slack in the tow rope and he found himself stalled in midair! Alas, the pause was miraculously timed–a gaggle of bone doctors taking a break from a convention happened to be playing volleyball when he dropped in on them! He was nearly killed. A few days later, in the weakest voice hearable, he called and asked if I’d take his newest book to the ABA in Los Angeles the next week. I did (when I found out what the ABA was), and that started a long string of lunches, Gold Coast meetings (a sort-of branch of NSA), and so on…

Dan had a sense of humor, much of it hoarded internally. He didn’t have time (or much patience) for editing would-be books sent for his help by adoring fans. He threatened to farm them all off to me, and rarely he couldn’t help himself: I would get a DOA bundle (with a spine) in the mail with a note daring me to make sense and save the soul of the hapless scribe of the offending manuscript. The note usually mentioned that I was the only person who could get the author in print since the bundle was so much like my own books!

A final story. Dan gave weekend gatherings for book creators at his palace. The couple of times I spoke there he would hold up one of my early books and tell the attendees that it was certainly not how to design your own cover–and that he had bought a couple of copies of the book so he wouldn’t run out of such a pitiful display. I told him I was hunting for some hole in one of his books, the table of contents lost in the index, upside-down chapters, or something equally egregious for revenge. But I never found anything out of place–and now he’s left before me and the fun is gone.

Dan Poynter was a smart fellow and already is a much missed friend.

Gordon Burgett




Writers: How to Write in Financial Comfort Even in Old Age!

There are ways to do what the title says—and about 1000 other ways that guarantee writing penury, most about as lucrative as begging for or selling writing pencils on the street! I’ll not foul this blog by describing how you can find cliche distress or dangling destitution—poverty you can find on your own. Or it will find you, particularly if you’re lazy or wreyete horroribly!

For the rest of you wordsmiths overflowing with words, wit, proper punctuation, vivid imaginations, and computers that spell well, here’s what an old writer thinks are the most likely paths to help you at least end up paying your own bills—and comfortably at ease between now and then.

We can eliminate some kinds of writing at the outset, like essays and poetry. Verse may be the showcase of a mastermind, but 99%+ of the poets, bless them, even when in rhyme don’t have a dime.

Let’s focus on the four paths that make the most cents.

Geniuses could secure comfort if they could express their wizardry in lucid, sought prose, then link themselves to vendors who could harness, package, and sell their brilliance. (So much for geniuses.)

A harder path would be from the bottom up, from stringer to city editor to editor-of-editors. Theirs might be the bobbing path of nervous comfort while publishing mastheads sink into the sea. Editing excellence may have to be mixed with the deft art of vessel leaping, derring-do in life preservers, afloat, preserving words and news while awaiting the calm. Still, in business and government there may be a million jobs that have a writing core. They pay well and keep the faithful comfortable during retirement. Some of the greatest writers had their day jobs there, and bloomed into fame from the product of their nighttime/weekend passions.

Fiction writers have the privilege of inventing comfort when needed, of living where their imagination takes them to find solace. But to have enough coin to eat and stay warm as needed requires that they cook up a tasty singular plotstew of people, purpose, and place that readers want, then keep that blend boiling until their culinary/literary fame makes them well rewarded. For most this is surely the hardest way to spend a life fed solely by writing.

The fourth path is obvious but its luster is so unseen by the everyday public that most miss its truly gilded glow. These are the folks who write for close-knit bonds of workers. They define their niches—surveyors, goat breeders, school principals—and write books or create how-to guides or give workshops transformed into BOR tomes about what every member of the group needs to know to do what they do better. Most also speak professionally about what they write. And if their primary field folds or changes form they reform their knowledge to match the new configuration, get the groups’ email addresses and sell their solutions to their associations and their members. They have ready-made followers eager for every applicable word that they write or speak. When they write articles, they know specifically who will read them and what they need or want to read. Their blogs are avidly awaited, they use social media to enhance their expertise, and as they get known and grow older their demand grows proportionately. They’re probably too busy to be too comfortable in their prime years, but they could have a self-generating empire that would keep them very comfortable as they age. The downside? Who knows they exist (comfortably or at all) and who reads their chosen words, other than the tight circle of their followers.

That’s it. Musing about how those fed by the flames of imagination and word-molding are most likely to be able to be comfortably closer to their preferred mode of creation longer and freer from debilitating or impoverishing distractions.

Best wishes,

Gordon Burgett

P.S. I write books and speak their messages, mostly. Some are published by others, while I also publish niche books, all of which I edit but are written by others. Here is a list of those books that are currently available. (Oh yes, I’m also old.)




Where might your bio and sales info do you the most good?

If you are digitally displaying your achievements and the products/skills that you have for sale, where might that be shown to your best advantage? Even if it’s only done to delight your kids, prove your prowess to your spouse, or put some strut in your aging parents’ prance, where might they most likely (and logically) see it?

Maybe at your website, where you can hide almost anything in its most exquisite, self-defined detail?

Or, in miniature, in your social media profiles?

Yesterday I became convinced that at least for writers, speakers, and publishers maybe the best shout sheet would be at our Author Central page at Amazon.com.

I concluded that from a dandy multi-segment workshop given by three BAIPA leaders at the monthly (second Saturday) gathering in Novato, California. (BAIPA is the San Francisco Bay Area Independent Publishers Association.) According to David Cutler, Judy Baker, and Ruth Schwartz, we would be woefully derelict if we left anything unrevealed at that site.

Why would Amazon be the prize listing site for our bios and the related exposition of products, services, and current or coming activities? Because far more buyers go to or through Amazon to buy paperbacks, ebooks, and audiobooks (plus batteries, kettles, and harmonicas, etc.) than anywhere else. And more eyes usually mean more buys of our printed or spoken gems! (You don’t publish through Amazon? You can list all other products there too.)

What can you include there to prove to the hungry public that you know your stuff and that your knowledge is immediately (and wisely) purchasable? Your books (bound or digital), audiobooks, articles, blogs as they appear, a long introduction, photos, videos, events (present and future), plus more…

How can others review and use this well presented repository? You can link them there, put a widget at your website, or they can just put your name up at Amazon.com and your Author Central info will appear—if you create it, which is fast and free.

I know, others have to go through Amazon to reach it. That bothers me too. But I will simply explain to them that it is where they can find the best and most recent list of my publications and services–and give the link or widget.

That’s it. I felt a bit stupid being all but unaware that Author Central existed despite the fact that Kindle and Create Space sell lots of my books (as do several other publishers, and us too). But I will use it often now. I’m interested having them hawking the existence of my words, wit, and (rumored) wisdom 24 hours a day, though I hope they keep that display some distance from the kettles and harmonicas.

Best wishes,

Gordon Burgett

P.S. There’s an obvious exception to the Amazon answer to this blog’s query: if you are a niche-oriented publisher or speaker, the best location would be in niche-related places. You are unlikely to be selling through Amazon.com. Two very unlike business models! (See my blogs about niche publishing if this is unclear. Just write niche publishing in the “search” box in the upper right corner.)