WHY PUBLISHERS NEED A CONTENT STRATEGY TODAY
"The concept of a content strategy is closely linked to the development of the Internet and its associated web content. Its origins lie in the 1990s, when the field of user experience developed. Content strategy is now increasingly used in the business environment and refers to the cross-media planning, development and management of information about products. This aspect is also valid for the publishing industry, and is relevant to all of the information publishers produce about their products. But it is more important to transfer the concept of content strategy to the actual product of publishers – the content itself." Publishing Perspectives
GETTING RID OF THE MIDDLE MAN
"What the artist needs now, is courage. The artist must take risks and sometimes the artist will fail. The key is to figure out what the past mistakes were, improve, and try again. The difference now is that we’re in it for the long haul. Yes, the middle men aren’t necessary (although sometimes they can be useful). But the people who expect to get rich overnight through things like Kickstarter or other forms of crowdsourcing generally will fail. Those who use these tools as tools to build that bridge to a big project or to a long career or to years of maintaining a business generally will succeed. Not because their first outing was successful; it probably wasn’t. But because they have a vision. They care more about the project than the money." The Business Rusch
THE ONE THING YOU CAN DO TO BECOME A SUCCESSFUL AUTHOR - NOW
"You don’t need a Big Six publisher to be successful. You don’t even need a small or mid-sized publisher. What you need, are the smarts, hard work, and good products to make it happen. In other words, you need you. Publishing success comes down to you, not whether some far-away publisher has deigned to grace you with a book deal." Writer's Living
IS KICKSTARTER THE ANSWER FOR ASPIRING AUTHORS?
"I suspect I couldn’t find a successful Kickstarter campaign in which a would-be author received money to write his or her book for the same reason that a publisher won’t extend that individual a contract; when putting up money, you want a sense of what you are getting in return. Pledges come with rewards, usually in the form of advanced or signed copies. If a book hasn’t even been written yet, how would a donor know that pledge would ever be fulfilled? And let’s not forget how long the donor would have to wait to receive that reward, even if the author managed to complete the work? Kickstarter, to me, seems a good complement to someone’s self-publishing plan. Beyond providing investment capital, it builds an audience and generates interest in the work. Mr. Godin said he wanted his Kickstarter campaign to tell publishers to take this approach seriously; it’s possible someone looking to self-publish could generate such interest on Kickstarter that a publisher would be persuaded to take them on. I hope that has happened." The Artist's Road
CAN THE INTERNET SAVE THE NOVEL?
"The internet is a permanent fixture in modern life, and that it influences the way we read, write and think is simply fact. So instead of lamenting how digital ubiquity is nibbling away at the novel’s purview, what if a novel were to pull a fast one and swallow the internet whole? " Salon
AUTHOR-PUBLISHER MARKETING RESPONSIBILITIES
"The author is responsible for the care and feeding of his/her readers. In other words, once the publisher has convinced someone who has never read a book of yours to “discover” you, it becomes your job to make a personal connection with that reader. Seth Godin would talk about this in terms of building your tribe. Some authors think of it as tending their flock." Books and Such