Slice Your Book into Pieces & Sell Each One Separately

 

For many writers, the prospect of churning out a steady stream of high- quality blog posts, articles, and most of all, books and ebooks is daunting, to say the least. Unless they dearly love writing and publishing every day.

And that doesn’t count the widespread online distribution that must occur if you hope to extend your reach, your authority, and your influence…to bring you more readers and ultimately, more clients and customers. Here’s where the concept of ‘content repurposing’ comes in.

Repurposing your content strategically can make the difference between always struggling to produce enough fresh content to get yourself noticed and working once and having that same piece of information spread almost effortlessly all over the web.

Here’s the Ultimate Repurposing Strategy:

Write one piece of high-quality content at a time and then use multiple targeted, efficient, and effective distribution strategies to get that content out in as many different forms as possible.

A fast way to boost online visibility is to repurpose blog posts into audio tips using a tool like Audioboo.fm. Because the audio tips are syndicated to iTunes, you get to piggyback on the largest podcasting site with millions of users worldwide.

By creating an audio format of written text, you will also have the opportunity to reach an audience who prefers getting their content in audio format.

On my page at https://medium.com/@doris.aubin, you will find lots of links to writing contests and magazines that offer (paid) placements for quality articles. At the beginning of every month, I publish these offers under the title “Publishing Newsletter”. A valuable resource for writers.

Audio Books
Re-purpose your manuscript and make more out of it than just a book or an e-book. Why not create an audiobook from your book? Audio books are popular!

“Readers” can listen in the car, bus, train, plane… while exercising, walking or hiking, on the beach, or while doing mundane tasks around the house or yard. Special needs readers, such as blind people, will have access to your writing through the use of audiobooks.

Audio books can be listened to on an iPod or iPhone/SmartPhone or other MP3 player, even on most e-readers like Kindle and Nook. Your readers can listen to audiobooks, which can easily increase their overall book consumption by 50% to 100% because they are using time that previously wasn’t available and turning it into valuable “reading” time.

There are three ways of producing an audiobook:

1. You do it all yourself. If you are on a very tight budget, you can make audios yourself with some relatively inexpensive equipment. Get lots of detailed and useful tips on “Audiobooks for Success”, available at https://books2read.com/u/bPRRyJ

2. You use a narrator who is specialized on audiobooks and who gets a percentage of royalties after production of your audiobook (for which they charge too).

3. You organize a professional production to have your audiobook sold, check www.Audible.com / Amazon.com. You will be referred to ACX, the Audiobook Creation Exchange https://www.acx.com, where you will see tons of good advice on how to narrate your own audiobook or what to look for when outsourcing. You will be positively surprised by how well they explain in detail the whole process for authors, including case studies, how much you will earn, contract samples, and how to promote your audiobook.

Use Your Copyrights

Your book has a secret ingredient that is called “Copyright.”
Every story you write, every novel, is a cake full of copyright. You can sell parts of your book to:

• one publisher
• other parts to another publisher
• some parts to overseas markets
• other parts to audio
• others as e-Books or Singles
• to game companies
• maybe to Hollywood’s film industry
• use parts of it to submit to contests
• divide it in chapters and sell to magazines
• or to web publishers

The list goes on and on and on. But what you need to do:

• Learn all about copyright to really understand this
• Realize that each piece can be a cash stream for you
• You don’t even have to use your name, get a pen name, or even several

You can sell these rights or uses in several ways:

First Serial Rights
 They can be print or electronic and mean that you are selling a publisher the right to publish your article once for the first time. In the case of print rights, you may immediately sell the piece to an e-publisher before print publication. After the print magazine containing your article hits the newsstand, you are free to sell it again as a reprint to other print markets.

First Serial Right Electronic
 Most Canadian and US freelance authors sell North American first serial rights, reserving the right to sell in other world markets (e.g., Great Britain, Australia, or Asia). Specify what type of rights you are selling: First North American Electronic Rights Only.

Second Serial Right
 These are reprint rights and apply to print and electronic markets. Never sell reprint rights; keep them at all costs. Even if you earn less money for each reprint, you can sell your work over and over again.

Subsidiary Rights
 Other rights that authors and freelancers hold are subsidiary rights, including, but not limited to, movie rights, TV and radio rights, audio and other media rights.

Or take a piece of your original article or blog post and expand on it to make another related article. For example, if you have written a book or a lengthy article, you could then take two or three of these chapters and further explain and illustrate them. Then submit these articles to the major article directories with a link back to your blog.

Fiction Writers:

Researching details for your story is a lot of work. Use what you found and build articles around it. Did you research history, landscape, religion, pets, professions, climate, medicine, or other topics? Elaborate more and write short or long articles, and offer them to several magazines and newspapers. 

Think about pet magazines, gardening or home magazines, publications for history buffs, travel magazines, and monthly or weekly community papers. Even online magazines for airlines. And did you know that the AARP, the retirement organization, has millions of readers for its magazine?

Never forget to add a byline of two sentences with a link to your website to these magazine articles. Contrary to book ads, these articles stay for a long time on the Internet. And YOU get paid and don’t have to pay for ads!

Each story, each novel is a piece of your writing business. If you spread them out — maybe over a number of pen names you have a pretty consistent cash flow stream working. You just need to offer them to people who will buy them.

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Authors: Fight for Your Copyright!

Signing publishing contracts are now more dangerous than it was fifteen years ago. Because fifteen years ago, books would go out of print, and then the contract would end. Now, books don’t go out of print anymore, thanks to ebooks and audiobooks.

Kristin Kathryn Rusch: "I’m waiting for the first big lawsuit from a writer against a publisher, as the writer tries to find a new way out of a contract.  Musicians have been filing those lawsuits for years now, and for the most part, getting no traction due to their signatures on the dotted line. Not understanding the implications of what you sign is not a good defense in most contract cases.

International Entertainment Conglomerates
Traditional publishers learned how to revise their business to make even more money. These publishers will be around for a long time, and writers will continue to sign with them.  But writers need to know what they are up against.  They are not signing up for a partnership with a production and distribution company like they had in the past."

"Mostly, these days, writers are signing with an international entertainment conglomerate that wants to exploit its assets for as long as possible."

"Books have moved from widgets to assets on the conglomerate’s financial statements.  The contracts—and the hardball that publishers now play—reflect this move.  When writers do business with an international entertainment conglomerate, they should be prepared to walk away from what initially looks like a good deal.  Because, in most cases, the writers will lose the right to exploit that property themselves for the life of the copyright."   See more at http://kriswrites.com/blog/#sthash.K1dkeBy0.dpuf
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Contract Terms Writers Need to Know
Your words are your creation, your identity, and your currency, and scam artists will try to steal them from you.  Trade publishers will hand you a contract and claim “it’s standard, everyone signs it.” Don’t believe anyone. Every contract is negotiable, especially when you know what to negotiate.  Here are some basics terms to help you understand contracts:

License
A license is a right to use only. You, the creator, will retain actual ownership of the copyrighted work.  99% of the time, a writer will be granting a license (not an assignment).
A license is similar to a lease.  Suppose you are a landlord, and you lease portions of your property to various tenants.  You still own the building.  Some apartments may be exclusive to one tenant, while other portions, such as the lobby, may be used by all tenants and are non-exclusive.

Licenses may be exclusive or non-exclusive, worldwide or geographically-restricted, short-term or perpetual, royalty-free or royalty-paying, limited to particular formats such as audiobooks, print, e-books or language; the permutations are endless.
But you will only know what you are granting if you read the contract.  Carefully!


Exclusive
If you grant an exclusive license to a publisher, then this publisher has the right to stop everyone else from using your work, even you.
Never grant an exclusive license without understanding exactly what you are doing.  Never grant an exclusive license to someone who cannot exploit your work for your benefit.
There are contracts out there from vanity and trade publishers in which the writer grants the company an exclusive license in every format for the life of the copyright plus seventy years after your death.  Even the author cannot use her or his own work. 
These aggressive clauses are buried deep in the document. Search them out. If you see one, do not agree.

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Assignment
When you transfer actual ownership of creation, that transfer is called an assignment. An assignment is forever (with few exceptions), so do not use the word casually.  While a license may be terminated if the licensee fails to pay royalties or exceeds its rights, an assignment is rarely reversible.
But there are times when you want a full assignment of rights.  For instance, you hire a freelancer to create your cover, website or custom illustrations, then that freelancer should assign all rights to the final work to you upon completion and full payment.
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Indemnity
An indemnity is a promise to defend and reimburse someone from a legal claim and economic loss.  As a writer, you will sign many agreements in which you “warrant” your work is original and non-infringing and you agree to indemnify the other party from any claim to the contrary. This means you must hire the attorneys and pay everyone’s legal fees, damage awards and settlement costs. 

Read all representations, warranties, and indemnities in your contracts. Ask the other party to explain what the contract means in an email, and save that email - and also consult an attorney. If you cannot make the warranties with confidence, then revise them to reflect reality.



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Fair Use: Myths and Facts

Fair Use Myths & Facts
Many myths persist about fair use, an essential right that allows the use of copyrighted material without permission from the copyright holder under certain circumstances. We debunk some of the most common fair use myths here.

Myth: Fair use is a defense, or minor exception, not a right.
Fact: Fair use is a right that accommodates the First Amendment.
Fair use is a right explicitly recognized by the Copyright Act.1 The Supreme Court has recognized this right as a “First Amendment safeguard” because copyright law might otherwise constrict freedom of speech.

Myth: Copyright’s primary purpose is rewarding authors and not promoting the public benefit.
Fact: The US Constitution clearly states that the purpose of the intellectual property system is to “promote the progress of science and the useful arts.”
The Supreme Court has repeatedly stressed that the intellectual property system must support the Constitutional rationale and, “The immediate effect of our copyright law is to secure a fair return for an ‘author’s’ creative labor. But the ultimate aim is, by this incentive, to stimulate artistic creativity for the general public good.”2 Fair use promotes this rationale by ensuring works can be used for a variety of purposes.

Myth: Where a specific limitation or exception exists under copyright law, fair use does not apply.
Fact: Fair use is a right that exists in addition to specific exceptions.
While specific exceptions provide certainty for particular activities or apply where fair use does not, the fair use doctrine remains an important right that is flexible and responsive to new technologies and developments, as confirmed by courts.3

Myth: There is no guidance on fair use. 
Fact: The statute, numerous court decisions, and best practices provide ample guidance.
Section 107 of the Copyright Act lays out four factors and also includes a non-exhaustive list of purposes that may be fair use. A multitude of court decisions also provide direction on fair use, particularly with respect to whether a use is transformative and therefore more likely to be considered fair use. Best practices,4 often grounded in court decisions, similarly provide helpful guidance by summarizing the best practices of a particular community.

1. Section 108(f)(4) of the Copyright Act specifically references “the right of fair use as provided by section 107.”
2. Feist Publications, Inc. v. Rural Television Services Co., 499 U.S. 340 (1991).
3. See, e.g., Authors Guild v. HathiTrust. The Second Circuit rejected the claim that Section 108 renders fair use inapplicable because of the plain language of the statute.
Additionally, it found the creation of accessible format works for the print disabled was fair use and, as a result, “we need not consider” whether the activity was
permissible under Section 121.
4. Codes of best practices have been created for a variety of communities and purposes. For numerous examples, see Center for Media & Social Impact, “Best Practices,”

accessed January 19, 2017, http://archive.cmsimpact.org/fair-use/best-practices.

Myth: Fair use is only permitted where the use is non-commercial. 
Fact: Courts have upheld fair use for commercial entities and commercial uses in a wide range of cases.
The commercial nature of the use is only one factor for the court to consider. Google, West Publishing, the NFL, and Sony are just a few examples of commercial entities that have prevailed in court cases by relying on fair use.

Myth: Fair use is a US doctrine that breaks from international law and practice.
Fact: Fair use or fair dealing is a doctrine widely incorporated around the world.
The concept of fair use or fair dealing is not unusual or an outlier; fair use or fair dealing exists in more than 40 countries. Both doctrines allow the use of copyrighted materials without permission from the copyright holder under certain circumstances.

Myth: Fair use is a new idea that did not appear in US copyright law until 1976.
Fact: Fair use has a long history and the 1976 Copyright Act simply codified a common law practice.
The Copyright Act codified the four factors derived from Justice Joseph Story’s opinion in the 1843 case, Folsom v. March. However, the doctrine’s origins date back much farther and can be traced back to English caselaw from the 1740s.

Myth: Digitization without authoriza- tion is not fair use. Fair use does
not permit full-text copying.
Fact: Numerous circuits have upheld mirror-image copies as transforma- tive and applied fair use.
The purpose of the digitization of the work is important in making a fair use determination. Numerous courts have found that digitization of a work and ingestion into a database for purpose of search is a quintessentially transforma- tive use.5

Myth: Fair use prohibits any uses that have an effect on the market.
Fact: Fair use is a flexible standard and all four statutory factors are considered together.
The four factors “are to be explored and weighed together, in light of copyright’s purpose.”6 It is not necessary to prevail on each of the four factors for a successful fair use claim. Furthermore, at least one court has determined that the market to be considered is the traditional market for the work and the relevant question is market substitution.7

Myth: Fair use is too uncertain and risky.
Fact: Fair use is a fairly predictable doctrine.
A 2009 study concluded, “Fair use is both more coherent and more predictable than many commentators have perceived once one recognizes that fair use cases fall into common patterns.”8

5. Many courts have held—both in terms of digitization as well as reprinting—that full copying is permissible under certain circumstances, including in the Second Circuit (Authors Guild v. Google, Authors Guild v. HathiTrust, Bill Graham Archives v. Dorling Kindersley), the Fourth Circuit (A.V. v. iParadigms, LLC), and the Ninth Circuit (Perfect 10 v. Amazon and Kelly v. Arriba Soft).
   
6. Campbell v. Acuff-Rose Music, Inc., 510 U.S. 569 (1994).
   
7. Authors Guild v. HathiTrust, 755 F.3d 87 (2d Cir. 2014). 

This work is licensed under a Creative Commons Attribution 4.0 International License.

How to Make More Money With Your Manuscript

For many authors, writing a book is the only way of earning money with their craft. But there is much more to a manuscript than what you can imagine! Your book has a secret ingredient which is called “Copyright.” Every story you write, every novel, is a package of copyrights.

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You can sell parts of your book to:

• one publisher
• other parts to another publisher
• some parts to overseas markets
• other parts to audio
• as e-Books or Singles
• to game companies
• maybe even to Hollywood’s film industry
• use parts of it to submit to contests
• divide it into chapters and sell to magazines
• or to web publishers …

The list goes on and on and on. But what you need to do:

• learn all about copyright to really understand this
• realize that each piece can be a cash stream for you
• you don’t even have to use your name, get a pen name or even several

.

You can sell these manuscript copyrights or uses in several ways:

• First Serial Rights
• First Serial Right Electronic
• Second Serial Right
• Subsidiary Rights

Audio Books

Why not additionally create an audio-book from your novel or even from non-fiction? Audio-books are very popular!  Your readers can listen to your audio-books, which can easily double their book consumption because they are using time, that previously was not available and turning it into valuable “reading” time.

Readers can listen in their car, bus, train, plane… while exercising, walking or hiking, on the beach or while doing mundane tasks around the house or yard.  Special needs readers, such as blind ones will have access to your written words in form of an audio-book.

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Kindle Singles

Now it is possible to write 5,000 (better 10,000) to 30,000 word articles, Amazon calls them “Kindle Singles” and sells them online. A prominent author of these Kindle Singles is Stephen King, with his Single “Mile 81” the current top seller (as of this writing). 

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Split Your Book into Single Articles
Very few emerging writers realize that they can sell their magazine articles over and over again. As long as the markets don’t overlap, you can sell exactly the same article as many times as you like and, in this globally connected marketplace, it is easier than you think.

However, you can only sell first rights, either print or electronic, once for the same piece. After that, unless you change the article significantly, you must offer it as a reprint for a lower fee. If you change the article, you can sell it again for first rights.

Then tweak it into an 800-word article for a national US daily. Subsequently, you make some minor changes to slant the piece for a travel magazine. Each time, you are able to sell it for first rights. Continue to sell it, however, look out for new markets in other English language markets overseas.

Reselling your work makes good business and time management sense – 

it reduces the energy you expend and increases your revenue. 

Use your book's manuscript to extend your revenues, find tons of freelance writing opportunities in the book, and learn everything about grants, crowd-funding, fellowships, writing contests or writer vacations in free residencies.

The Possibilities Are Endless...Learn how to be in charge of your income now.  The only “ceilings” are the ones you place on yourself!  You can make an excellent living as a writer.  All you need is someone to show you how to start.

Writing for a living offers lots of advantages – you get to choose when and where you work, and with whom. But it’s not enough to say you want to make a living as a writer; you need to know HOW. You need a concrete plan to bridge the gap between where you are now to where you want to be in the future. 

 111 Tips to Make Money With Writing: 

The Art of Making a Living Full-time Writing

shows you exactly the many possibilities to become a full-time writer - with a lot more than 111 tips - how to make a living from writing.

Amazon Worldwide  https://www.amazon.com/dp/B078K6W3HL/

For a Preview click here:  http://a.co/eD6PcoW

Find it on iBooks, B&N, Kobo, Chapters, Thalia, Weltbild etc. 

via a universal link: 

https://www.books2read.com/u/3J0BwA

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