April, 2021 | Chris Aldrich

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Read Podcasting, RSS, Openness, and Choice by

In the coming months and years, we’ll be working to further enable choice for creators, including giving them the power to choose not only how someone wants to create or monetize audio, but also where specific content is able to be consumed, ensuring creators have an opportunity to decide if they are aligned with the platforms distributing their content.

The open RSS standard has provided immense value to the growth of the podcasting ecosystem over the past few decades. ❧

Why do I get the sinking feeling that the remainder of this article will be maniacally saying, “and all of that ends today!”
Annotated on April 19, 2021 at 09:34AM

We also believe that in order to democratize audio and achieve Spotify’s mission of enabling a million creators to live off of their art, we must work to enable greater choice for creators. This choice becomes increasingly important as audio becomes even easier to create and share. ❧

Dear Anchor/Spotify, please remember that “democratize” DOES NOT equal surveillance capitalism. In fact, Facebook and others have shown that doing what you’re probably currently planning for the podcasting space will most likely work against democracy.
Annotated on April 19, 2021 at 09:13AM

In the coming months and years, we’ll be working to further enable choice for creators, including giving them the power to choose not only how someone wants to create or monetize audio, but also where specific content is able to be consumed, ensuring creators have an opportunity to decide if they are aligned with the platforms distributing their content. ❧

So this means you’re going to use simple, open standards and tooling so that not only Anchor and Spotify will benefit?

Or are you going to build closed systems that require the use of proprietary software and thus force subscriptions?

Are you going to Balkanize the audio space to force consumers into your product and only your product? Or will producers be able to have a broad selection of platforms to which they could easily export and distribute their content?
Annotated on April 19, 2021 at 08:57AM

Thus, the creative freedom of creators is limited. ❧

And thus draconian methods for making the distribution unnecessarily complicated, siloed, surveillance capitalized, and over-monitized beyond all comprehension are beyond the reach of one or two for profit companies who want to own the entire market like monopolistic giants are similarly limited. (But let’s just stick with the creators we’re pretending to champion, shall we?)
Annotated on April 19, 2021 at 09:07AM

tl;dr: Anchor: We’re doing this not so much because creators say they want it, but because we really, really want it. P.S.: We don’t care at all what our listeners think, and so have nothing to say about their freedom.

Checked into ARCO

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Checked into The Orthdontic Studio

Checked into Once Upon a Time Book Store

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Checked into Vroman's Bookstore

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.

Some in Los Angeles are still recovering from last night’s clubbing, but others are still going strong in the online KaraOERke at https://ds106.tv/live/

#OERxDomains21

Read OERxDomains21’s Headless Program by

Jim Groom (bavatuesdays.com)

It’s the day before OERxDomains21 and I am blogging, that’s a good sign, I think….regardless, it’s happening! And, given I still have a blog, I have the distinct pleasure to share with you my favorite part of the conference thus far—the TV Guide -inspired program.

to re-phrase a famous line from Zach Davis, “Behind every EDUPUNK is a frazzled web developer.” ❧

Annotated on April 20, 2021 at 11:17AM