author platform | Chris Aldrich

Read Collaborative Community Review on PubPub by Heather Staines

In preparation for Peer Review Week, I wanted to take a closer look at some of the collaborative community review experiments that have happened recently on PubPub. Finding new ways to harness engagement in scholarly communications is a goal of the Knowledge Futures Group, and inline annotation is a technology that I rely upon every day to organize my thoughts and track my online reading. I reached out to the authors of three forthcoming MIT Press books that have undergone this type of review during the last year. I was excited to learn about their experiences and to share some of their observations here.

A short text “interview” with the authors of three works that posted versions of their books online for an open review via annotation.

These could be added to the example and experience of Kathleen Fitzpatrick.

“Criticism is a marker of respect and an acknowledgement that others see in us the ability to learn.” they noted. ❧

quote from Catherine D’Ignazio, Assistant Professor, Emerson College, and Lauren Klein, Associate Professor, Georgia Institute of Technology, authors of Data Feminism.
Annotated on June 21, 2021 at 07:57AM

He notes that authors of such projects should consider the return on investment. It take time to go through community feedback, so one needs to determine whether the pay off will be worthwhile. Nevertheless, if his next work is suitable for community review, he’d like to do it again. ❧

This is an apropos question. It is also somewhat contingent on what sort of platform the author “owns” to be able to do outreach and drive readers and participation.
Annotated on June 21, 2021 at 05:12PM

Read The Future of Publishing? by

Dan Allosso (History4Today.com)

I got a note from the senior executive editor at Yale, who has been my main contact throughout the process of getting my book published. Peppermint Kings has not been flying out of the warehouse so…

Sorry to hear this Dan, but I might be able to help in terms of providing some perspective for moving forward.

These days the idea of bestseller means selling in the range of 10,000 books. The average book released these days sells only 250 copies, so if you’re over that, you’re doing well.

It’s also incredibly uncommon for any publishers to put any serious money behind promoting their titles unless PR opportunities are falling off the trees for them. (This means that unless you’ve been selling a million copies of everything you write, they probably don’t care.) Many publishers will assign you a pro-forma publicist to help when they can, but don’t expect much from them. Most publishers will tell you to hire your own book publicist (usually for about $1,500-3,000 a month).

My guess is that the first run of your book was probably 1,000 to 2,000 books, which will bring the cost of raw printing down to $2 a copy. If you need copies of your book and they’re remaindering them, you might offer the publisher $1-2 a copy plus shipping to get 50 or 100 copies for yourself for hand sales over the next decade (for speaking engagements, etc.) or selling a few copies from your own stash on platforms like Amazon, Abebooks, Alibris, etc. The cost of keeping a book in print these days is usually around $12 a year and then they print them on demand.

Some of the methods you mentioned, talks, online readings, etc. can be useful marketing for both you and your book(s). Look around your local community/state for book events, fairs, bookstores that invite authors, etc to supplement this.

Depending on your next title, it might be worth hiring a publicist if you’re going the route of a text accessible to a broader public.Often this can be a reasonable risk but getting copies into reviewers’ hands can be helpful, as can radio or print appearances. Another option is to pay for adds in appropriate print magazine outlets related to your material.

It’s an uphill slog, but getting a publisher to take most of the risk and offering you all the free amenities of editing, proofreading, typesetting and distribution can be worth it in the end to get your material out.

When choosing your next publisher/editor, have a bit of this conversation with them at the outset to see what expectations they have for themselves. Don’t tip your hand though by letting them know prior sales numbers.

Since you’ve got your own website/newsletter/social media presence, you should also look into affiliate accounts with the bigger online platforms. Chances are you’re actually selling most of your own copies, you may as well get a 4% or larger cut of the referrals you’re giving. Your link on this page alone could give you a reasonable little return on top of the boilerplate 7% you’re probably getting from the publisher.

I just ran across Contently, a silo-based service specifically made for journalists, freelancers, and writers to aggregate their content into a portfolio as well as to help them with their careers. An intriguing concept that can use some additional UI research for integrating into an author platform.

ᔥ Michael Marshall in Stories by Michael Marshall : Contently (12/23/2020 08:27:14)

👓 Why Not Blog? | Kathleen Fitzpatrick

Read Why Not Blog? by

Kathleen Fitzpatrick (Kathleen Fitzpatrick)

My friend Alan Jacobs, a key inspiration in my return (such as it is, so far) to blogging and RSS and a generally pre-Twitter/Facebook outlook on the scholarly internet, is pondering the relationship between blogging and other forms of academic writing in thinking about his next project. Perhaps needless to say, this is something I’m considering as well, and I’m right there with him in most regards.

Highlights, Quotes, Annotations, & Marginalia

The blog was not just the venue in which I started putting together the ideas that became my second book, the one that made promotion and various subsequent jobs possible, but it was also the way that I was able to demonstrate that there might be a readership for that second book, without which it’s much less likely that a press would have been interested. ❧

This sounds like she’s used her blog as both a commonplace book as well as an author platform.

In fact blog posts are not the kind of thing one can detail on one’s annual review form, and even a blog in the aggregate doesn’t have a place in which it’s easy to be claimed as a site of ongoing scholarly productivity. ❧

Mine have gone more like (1) having some vague annoying idea with a small i; (b) writing multiple blog posts thinking about things related to that idea; (iii) giving a talk somewhere fulminating about some other thing entirely; (4) wondering if maybe there are connections among those things; (e) holy carp, if I lay the things I’ve been noodling about over the last year and a half out in this fashion, it could be argued that I am in the middle of writing a book! ❧

Here’s another person talking about blogs as “thought spaces” the same way that old school bloggers like Dave Winer and Om Malik amongst many others have in the past. While I’m thinking about it I believe that Colin Walker and Colin Devroe have used this sort of idea as well.

📺 Malcolm Gladwell Explains Where His Ideas Come From | The New Yorker | YouTube

Watched Malcolm Gladwell Explains Where His Ideas Come From from The New Yorker | YouTube

David Remnick speaks with Malcolm Gladwell about how he arrived at his particular approach to storytelling.

I appreciate how Gladwell makes the attempt to reach out to his readers between books and has thought about how podcasting is a useful way to do that. Some of this is the idea behind the why and how of what a good author platform is and how it should work. Podcasting is just a tool for doing a piece of that better.

There are some interesting references in here that I’ll have to read up on as well as taking a look at Gladwell’s podcast. I’m curious how he translates his storytelling approach in the audio medium compared to how he writes.

h/t Aaron Davis