Category Archives: Opinion

Don’t Call Procrastination Laziness. Call it Fear. (PART TWO)

In part one of this two-part blog series, we talked about the difference sections of the human brain—the reptilian brain, the limbic brain, and the neocortex—and how they each affect our decision-making processes. We discovered that our unconscious, compulsive, automatic fear of things unknown is created in the reptilian portion of our brains. And we discussed that any of the irrational concerns we may have about book publishing, sales, and marketing are variations of the exact same thing: the reptilian brain’s unconscious, automatic “fight or flight” survival instinct triggered by its fear of the unknown.

Instinct is a good thing that serves a valid purpose in our lives. God gave us all an instinct for a reason, and we should pay attention to it; but, whenever your fear of the unknown has you avoiding potentially advantageous opportunities simply because they’re new to you, then it’s time to consult with your more evolutionarily advanced neocortex—the logical, rational portion of your brain—by writing your fears down. Articulate them to yourself in writing. Read them out loud to yourself. When you do this, you’ll begin to see just how irrational many of those fears really are.

Fear #1: What if it’s a bad idea?

I can’t tell you how many authors I’ve sat and had a coffee with who have sheepishly shrugged their shoulders and said, “It’s probably a stupid idea. Maybe I shouldn’t do it.”

To which I always reply, “How long have you been thinking about this idea? When did it first come to you?”

For many of them, the answer is, “Several months.” For others, the answer is, “Several years.”

I always tell them the same thing: “An idea is a life form of its own that wishes to be expressed. It wants to be given life, and it has chosen you as the conduit for its life. That’s a gift . Accept this gift and use your God-given talent to give it the expression and life it craves. The fact that you’ve been thinking about this idea for several months or years tells you that it’s not simply a fleeting thought. It’s a real living, breathing thing.”

As an entrepreneur starting my own book publishing business, and writing and selling my own books, I had my moments when I thought to myself, “Maybe this is a bad idea.” I’m just like you. What I did, in those moments, was seek out inspiration from other people who had succeeded before me, to help me push through that fear and self-doubt. I read books. I watched videos. I used whatever tools I could find to help myself move forward.

One of my most cherished sources of inspiration is a video of Sara Blakely (2011), the founder of Spanx, Inc., speaking to a group at The Edge Connection in Atlanta, Georgia, about how she built her hosiery company from a mere $5,000 initial investment into a billion dollar empire in a short ten years. Very early in her presentation, she describes listening to a speaker at a convention who stated that he would prove to the room, in only four words, that there is no such thing as a bad idea: TEENAGE MUTANT NINJA TURTLES! Sara herself eventually went on to prove to the many early doubters, in only two words, that there is no such thing as a bad idea: FOOTLESS PANTYHOSE!

I highly recommend this video of Sara Blakely to all authors who doubt themselves and their current ideas—whether it’s a book topic idea or a sales idea you have for an already-published book. It is a beautiful example of what’s possible when one pushes past that instinctive, reptilian-brain fear and perseveres in the achievement of a goal—any goal. For those who love humour, you’ll enjoy this video all the more. This woman is not only inspirational; she’s downright hilarious. I truly admire her on so many levels.

Fear #2: What if nobody reads it?

Well, then nobody will read it. And you’ll be no further behind nor any further ahead than you are today. You’re surviving right now, right? Fear busted.

Fear #3: What if people read it and don’t like it?

First of all, if people are reading it, that’s a good thing! That’s the ultimate goal!

Second, accept the fact that you’re entitled to your own opinions— and so is everyone else. Once you can do that, you’ll experience a freedom you’ve never experienced before.

When I published my first book, everything was quite new to me, and I had an expectation (possibly an unfair one) that my friends and family members should support me 100 percent and compliment me on my book, no matter what they thought of it. Luckily, that did happen with my first book. Everyone around me was very supportive.

Unfortunately, when my second book came out, it was a different story. I received an unexpected criticism from someone dear to me that left me shocked, hurt, and unsure how to react. I’ll be honest; it took me a couple years to come to a place where I was willing to put myself out there again. During that time, I had to rethink my expectations of those closest to me and find a way to remain confident in myself and my craft regardless of others’ opinions.

In retrospect, I’m glad I experienced that criticism so early in my publishing career because it taught me a valuable lesson about how I should measure the true merit of my work. A few times, I’ve had to ask myself the question: What is the truth here? Is it the joy and enthusiasm I felt when I held a printed copy of the book in my hand for the very first time? Or is it the self-doubt I felt when someone criticized it later on? Which one of those two moments will I use to determine the value of my book?

A wise woman named Lisa Nichols once said:

Oftentimes, you give others the opportunity to create your happiness, and many times they fail to create it the way you want it. Why? Because only one person can be in charge of your joy . . . and that’s you. So even your parent, your child, your spouse—they do not have the control to create your happiness. They simply have the opportunity to share in your happiness. Your joy lies within you.

A beautiful sentiment, don’t you think? I believe the same can be said for self-confidence and faith.

I’ve gone into every book project since then with a new set of expectations that take the pressure off both me and those around me. It’s always nice when people acknowledge a new book with a hearty congratulation, but I’ve decided that’s where their obligation ends. I no longer base a book’s worth on whether others read it, agree with it, enjoy it, or discuss it with me after the fact. The truth I try my best to hold onto is the joy I felt when I held that first printed copy in my hand. I hope you will do the same for you. I hope you will find a way to hold onto your enthusiasm even if you come up against any criticism along the way—whether it’s from friends, family members, reviewers, or anyone else. Keep writing! Keep the faith!

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As a user of this website, you are authorized only to view, copy, print, and distribute the documents on this website so long as: one (1) the document is used for informational purposes only; and two (2) any copy of the document (or portion thereof) includes the following copyright notice: Copyright © 2017 Polished Publishing Group (PPG). All rights reserved.

Don’t Call Procrastination Laziness. Call it Fear. (PART ONE)

From the very beginning, one of my primary goals has been to ensure that all authors have access to professional-quality book publishing, sales, and marketing—even those who can’t easily afford these services. Every year, I’ve offered this opportunity to them in the form of simple contests and free giveaways. But, far from helping more authors transform their dreams from the invisible into existence, this exercise has instead provided me with some very interesting insight into the mind of an artist. It has made me rethink my whole strategy and tweak my focus so I can help these people in hopefully more effective ways.

In part one of this blog series, we’ll take a closer look at the experiment, the result, and the subsequent conclusion I came to regarding what is stopping people from moving forward with their books. In part two, which will follow in a few days, we’ll look at some effective strategies an author can use to work with his or her own brain rather than battling against it. Success as an author is just around the corner once you can conquer this.

The Experiment

The first year, I took out a specialty insurance policy which allowed PPG to offer authors a chance to win $100,000 in cash if they referred aspiring authors to us who ended up purchasing one of our book publishing packages, if they purchased one of our book publishing packages toward the publication of their own book, or if they could prove they sold fifty copies of their already-published PPG book in a bookstore consignment deal. Long story short, there were very few entries into this contest and nobody won. I deemed this experiment unsuccessful because it didn’t drum up anywhere near the new business I had hoped for; and, I attributed that lack of interest to the fact that it required people to invest a significant amount of time or money upfront for a chance to win, and that it was only a chance instead of a guarantee that at least one person would win.

So the next year, I offered a chance to win $5,000 toward a professional PPG publishing package to all Canadian adults aged eighteen years or older with a guarantee that one person would win. This time, no one had to pay any money upfront. People could qualify for more than one chance to win in various ways: by liking our Facebook page; by following us on Twitter; by subscribing to the PPG Publisher’s Blog; or by joining the PPG Writers Forum. I figured there would be much more interest across the country—and there was—but something curious happened. Despite the fact that we had quite a few contestants and one seemingly solid winner, a book was never published as a result of this contest.

The Result

Despite being given the opportunity—the written guarantee!—to have a professional-quality book published free of charge, in which 100 percent copyright ownership of both the written words and the artwork produced for that project would remain with the author, our winner still procrastinated on publishing the book for several months. Halfway through the year, we had a conversation about this. I expressed to this author that the prize was to have a book published within the year; and if we didn’t begin the publication process within the next month or two, it would be impossible to have it completed within the year, which would render the contest null and void. I provided a deadline that the winner agreed to meet; and it was also agreed that if we didn’t begin publication of the book by that date then, out of fairness to the other contestants, the contest would be re-opened to them.

The winner procrastinated some more . . . right past the agreed-upon deadline. So, a letter was sent out to all of the contestants (including the winner) offering everyone one more crack at this prize. (This letter was also posted publicly on the PPG Facebook Page.) Due to the lateness in the year, everyone was given two weeks to submit their properly-formatted manuscripts and artwork to PPG in order to qualify, otherwise the contest would be deemed null and void. Four of these contestants (including the first winner) expressed a solid interest and said they had books ready to go, so it was hopeful for one gleaming moment in time that we might have ourselves a winner. But guess what happened? Everyone procrastinated past the deadline. No one submitted their work. The contest was deemed null and void.

I can vividly recall one of these contestants using the excuse of limited time. “It’s going to take me four hours to put together everything you need in order to submit my book to you. I don’t have that kind of time right now.” I’ll admit I was not only shocked by this but also a little annoyed. I didn’t respond to the comment. I didn’t know how to respond to that, because I found it so perplexing that someone would abandon $5,000 in free cash for only four hours of work. It was the equivalent of me paying that person $1,250 per hour to do what needed be done to get that book ready for our professional publishing process; and yet, this contestant still wouldn’t (couldn’t?) do it: nor would any of the others.

The Conclusion

I’ve come to realize that an author’s procrastination has very little to do with him or her being too frugal to invest the amount of money that is necessary to produce a professional quality book; because, even when given the opportunity to do it for free, many people still can’t bring themselves to do it. And it has even less to do with simple laziness. This is about fear. Only an intense fear of something can prevent an author from publishing and selling his or her book. But a fear of what? That’s the question.

Or maybe a more accurate way to word that question would be, “What exactly causes fear?” And perhaps the answer is simple genetics—a surplus, irrational “fight or flight” survival instinct that is still present in the human brain even after thousands of years of evolution. According to an article titled The Brain from Top to Bottom, written by Bruno Dubuc and posted on McGill University’s website,

The first time you observe the anatomy of the human brain, its many folds and overlapping structures can seem very confusing, and you may wonder what they all mean. But just like the anatomy of any other organ or organism, the anatomy of the brain becomes much clearer and more meaningful when you examine it in light of the evolutionary processes that created it.

Dubuc goes on to compare the three components of the human brain: the reptilian brain; the limbic brain; and the neocortex. Of these three components,

The reptilian brain, the oldest of the three, controls the body’s vital functions such as heart rate, breathing, body temperature and balance. Our reptilian brain includes the main structures found in a reptile’s brain: the brainstem and the cerebellum. The reptilian brain is reliable but tends to be somewhat rigid and compulsive.

Your unconscious, compulsive, automatic fear of things unknown is created in the reptilian portion of your brain. It’s purely instinctual, just like reptiles. They don’t “think” or “rationalize” things through. Nor do they have any sort of emotional response to things. Reptiles simply react out of their natural survival instinct. When they are faced with a common situation that’s known to them, they either live in/on it . . . or they eat it. When they are faced with a potentially threatening (unknown) situation, they run and hide. Theirs is a pretty simple, straightforward existence.

Instinct is a good thing that serves a valid purpose in our lives. God gave us all an instinct for a reason, and we should pay attention to it; but, whenever your fear of the unknown has you avoiding potentially advantageous opportunities simply because they’re new to you, I encourage you to consult with your more evolutionarily advanced neocortex—the logical, rational portion of your brain—by writing your fears down. Articulate them to yourself in writing. Read them out loud to yourself. When you do this, you’ll begin to see just how irrational many of those fears really are.

There are the fears that come up before you’ve published your book, and then the ones that creep in during the publishing process itself. And if that’s not enough, once you get past those and actually publish your book, then there’s the fear of book sales and marketing to contend with—the anxiety you feel at the idea of exposing yourself publicly. Julia Cameron put it best in her book titled The Artist’s Way when she wrote:

Do not call procrastination laziness. Call it fear. Fear is what blocks an artist. The fear of not being good enough. The fear of not finishing. The fear of failure and of success. The fear of beginning at all. There is only one cure for fear. The cure is love. Use love for your artist to cure its fear.

All of your concerns about book publishing, sales, and marketing are variations of the exact same thing: the reptilian brain’s unconscious, automatic “fight or flight” survival instinct triggered by its fear of the unknown and coupled with its inability to feel love. That’s it. That’s the cause right there.

My goal in writing this blog entry is to do my best to put your reptilian mind at ease so you can use your neocortex more effectively in the successful publishing, sales, and marketing of your book. In fact, you’re going to use more than your logical neocortex. You’re also going to learn how to put your emotional limbic brain to good use so you can appeal to others’ limbic brains to get them to buy your book after its been published.

As Zig Ziglar, a well-known and often-quoted American author, salesman, and motivational speaker, so aptly stated, “People don’t buy for logical reasons. They buy for emotional reasons.” The most effective salespeople appeal to their customers’ emotions to sell their products and services. I hope to teach you some effective ways to do this so you can publish that book at long last and enjoy more commercial sales success as an author. That is my intention.

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As a user of this website, you are authorized only to view, copy, print, and distribute the documents on this website so long as: one (1) the document is used for informational purposes only; and two (2) any copy of the document (or portion thereof) includes the following copyright notice: Copyright © 2016 Polished Publishing Group (PPG). All rights reserved.

Let’s Start a Revolution to End Returnability!

Kim Staflund: founder and publisher at Polished Publishing Group (PPG) and author of the PPG Publisher’s Blog

Kim Staflund: founder and publisher at Polished Publishing Group (PPG) and author of the PPG Publisher’s Blog

Through this blog post, it is my goal to open up a sincere dialogue between everyone involved in the book supply chain from authors, agents, and publishers of all kinds (trade, vanity, hybrid … from the smallest independents to the corporate giants) to the printers, distributors, wholesalers, and retailers that help us create, move, and sell our books to the masses. I want to talk specifically about book returns.


One of the most costly and troublesome practices in the world of book publishing is an archaic book return policy that detrimentally affects net profits for both publishers and authors alike. When a publisher marks its books as “returnable” for wholesalers and retailers, it is giving them the right to return those books, at any given time, for a full refund if they’re unable to sell them—regardless of whether those books are stickered with price tags or a bit scuffed from being handled by various people. 

This practice has always bothered me, right back to the days when I worked for a small literary publisher in Canada over twenty years ago. I’ve never understood why things were (and still are) done this way, so I went in search of an answer and came across a well-researched book by John B. Thompson titled Merchants of Culture: The Publishing Business in the Twenty-First Century that provided an answer. Here is what John’s research found:

“The practice of allowing booksellers to return stock for full credit has a long history in Europe but was used rarely and half-heartedly by American publishers until the Great Depression of the 1930s, when publishers began experimenting seriously with returns policies as a way of stimulating sales and encouraging booksellers to increase stockholdings. In spring 1930, Putnam, Norton and Knopf all introduced schemes to allow booksellers to return stock for credit or exchange under certain conditions, and in 1932 Viking Press announced that orders for new books would be returnable for a credit of 90 per cent of the billed cost. …The practice of returns subsequently became a settled feature of the book trade and marks it out as somewhat unusual among retail sectors.

For decades, by continuing on with this practice, we’ve inadvertently trained the traditional wholesalers and retailers that they call the shots with regard to how (and at what price, in some instances) we should sell our books. As a result, it is next to impossible to convince any bookseller to carry even a small physical inventory of our books in their stores unless those books are marked as returnable and/or priced ridiculously low.


To be blunt, I won’t play this game. I mark all of PPG’s authors’ books as non-returnable (my own included) to protect them from the crippling financial repercussions that are caused by returns; and, instead, I now teach authors how to sell audiobooks, ebooks, paperbacks, and even hardcover books online so they can better control their net profits. As I read more of Thompson’s book, my own views and policies in this regard were vindicated by the realization that other English language trade publishers, both large and small, in both the UK and the US, share my frustrations:

“…even if the book sells well, they are likely to be faced with high returns, at least 20 per cent, possibly as high as 50 per cent, which will be credited to the retailer and deducted from their receivables by their distributor, though they still have to pay the printer’s bills. ‘We call it “feeding the beast”. You have to feed the goddam beast and it just doesn’t work.’ As the returns come back they undo much of the gain they thought they had achieved with a book that seemed to be selling well… High returns are costly for publishers. Not only is a great deal of time and money wasted in packing up and shipping books that are never sold, and then packing up and returning them to the publisher’s warehouse, but printing books that are eventually pulped is wasteful and expensive, and the cost of writing off unsold stock goes directly to the publisher’s bottom line, depressing still further a profit margin already under pressure. …high returns which put downward pressure on margins is the price paid for adhering to this traditional distribution model. Improving supply chain capabilities and the ability to forecast consumer demand are important steps forward in the struggle to deal with the problem of returns, but they are really tinkering at the edges. ‘The physical side of the business is as broken and inefficient today as it was 15 years ago,’ commented one COO who joined a large house in the mid-1990s and has spent much of his time since then trying to deal with this problem. …there is much about this dynamic that could be regarded as illogical, irrational and inefficient, not to mention wasteful.” 

If so many publishers feel the same way as I do about this antiquated book return policy, then why are they still playing the game? Isn’t it time to stop?


Booksellers, we as publishers and authors need you. And you need us, too. We’re all essential components of this evolving book supply chain that is increasingly influenced by digitization. Thompson discusses this in his book, as well:

“…the same trade house that had seen ebook sales grow by 50 per cent in 2007 now saw its ebook sales leap by 400 per cent in 2008. This was a sudden and dramatic change. … The upward surge in ebook sales both continued and accelerated throughout 2009 and 2010. …Will ebooks become 30 per cent, 50 per cent, even 90 per cent of publishers’ total sales in the next few years? The truth is, no one knows. Most people have an opinion but no one knows a thing. ‘I wish I could give you wisdom,’ said one CEO in 2011, speaking with unusual frankness, ‘but I have no idea. The consumer will act to define this – it won’t be defined by Amazon or Barnes & Noble or Apple or us…” 

It is possible that, one day, ebook sales will dominate over paperback and hardcover sales. But it is important to understand that “digitization” refers to much more than simply ebooks … and this will affect traditional wholesalers and retailers just as much as it affects publishers and authors.

The truth is, with the advent of short-run digital printing (SRDP) and print-on-demand (POD) technology, it is less and less necessary for publishers/self-publishers to print large runs of books or carry any physical inventory whatsoever. We can simply offer a link to the digital files of our paperbacks and hardcovers on various ecommerce sites around the world so that, when a consumer clicks on that link to purchase the book in whatever quantity, that triggers the site’s digital printer to print, bind, and ship that exact number of copies straight to the consumer’s designated ship-to address.

Times have definitely changed in the book business, and they continue to change at a rapid rate. Perhaps now is the time to start a revolution to end returnability once and for all by asking our traditional wholesalers and retailers to partner with us in different ways. Change your incentives! Adjust your current co-op programs to encourage consignment book signings and launches for authors inside your stores rather than using these programs for in-store placement of returnable books. Improve your ecommerce sites! Help us sell more of our books through your stores’ websites rather than forcing us to look for other online solutions due to unreasonable return policies. 

There are so many things we could do to help each other survive (preferably THRIVE!) in these turbulent times. Because, at the end of the day, the survival and future success of the traditional wholesalers and retailers depends as much upon us as we have always depended upon them. 

Related reading (even some traditional booksellers agree that “…Any rational business person looking at this practice would think the industry has gone mad.”): Quest for best seller means lots of returned books (2005)

Related reading: Why All Books Should Be Non-Returnable – By Angela Hoy (2005)

Related reading: Why All Books Should Be Non-Returnable – By Angela Hoy (2015)

Related reading: How to Price an Ebook

What Could Surrendering Your Copyright Potentially Cost You?

Kim Staflund: founder and publisher at Polished Publishing Group (PPG) and author of the PPG Publisher’s Blog

Kim Staflund: founder and publisher at Polished Publishing Group (PPG) and author of the PPG Publisher’s Blog

The CEO Magazine recently published a piece I wrote for their 8020 Blog titled Your Book is an Asset … if You Own the Copyright, and it generated many comments from both authors and publishers alike … some more passionate than others. The consensus was that it was too simplified, as though a more complicated explanation of copyright is somehow more acceptable to the masses. I disagree, hence this additional blog post on the topic.

Here is my personal belief: when people are unable to explain their topic matter to others in layman’s terms with ease, then they are either hiding something or they don’t fully understand it themselves. This is why I’m cautious when it comes to publishing contracts that are filled with complicated legalese. It is also why I challenge those who try to defend such contracts by saying, “It’s not that simple. There are different types of licenses. There are several factors to consider. Authors may be relinquishing some of their control, but not necessarily their copyright; or, if they are giving up their copyright, it may be only temporarily, not permanently.” And on and on.

Semantics. Legalese is confusing by design. I could utilize immoderately byzantine phraseology and labyrinthine reasoning with the best of them if I chose to, but that rather defeats the purpose of communication, don’t you think? 

I’d rather be clear and helpful. So, let’s keep it simple. Because, at the end of the day, it’s unnecessary to complicate this.



noun: copyright; plural noun: copyrights
1. the exclusive legal right, given to an originator or an assignee to print, publish, perform, film,   or record literary, artistic, or musical material, and to authorize others to do the same.
“he issued a writ for breach of copyright”
* a particular literary, artistic, or musical work that is covered by copyright.

adjective: copyright
1. protected by copyright.
“permission to reproduce photographs and other copyright material”

verb: copyright; 3rd person present: copyrights; past tense: copyrighted; past participle:
copyrighted; gerund or present participle: copyrighting
1. secure copyright for (material).

As the original creator of your manuscript, you own 100 percent of all of the rights to reproduce, publish, sell, and distribute your words in whatever manner you see fit. Your manuscript belongs to you and you alone—from the moment you write it. It is only when you decide that you want to publish your manuscript into book format with the hopes that you’ll earn some money (or educate people, or entertain people, or whatever your personal reasoning is for publishing it) that some or all of the copyright ownership of that work might shift to someone else, depending on which publication method you choose. In other words, you might take a few different routes toward having your book published, and each of these book publishing methods affects your copyright ownership a little differently.

It is vitally important that you review a publishing contract in full before you ever sign it; and, if the contract before you is filled with a bunch of hard-to-understand language, then ask the questions you need to ask to ensure that you fully understand the agreement you’re about to enter into. Hold the company accountable for explaining it to you and putting you at ease. You have that right as one of their clients.


Some authors will submit their manuscripts to a traditional (trade) publisher for consideration in the hopes that it will be published free of charge to them. What they might not realize is that whoever is paying for the publication of a book is the one who ends up with primary control over that book. Trade publishers don’t pick up the bill simply out of the kindness of their hearts. They are business people who are buying a product to try to turn a profit for themselves, and that “product” is the copyright ownership of your manuscript (whether permanent or temporary, whether full or partial—it varies with each contract and each publisher).

And fair enough! If I was paying for the whole thing, assuming all financial risk and responsibility for the project myself, then I would want majority control and ownership, too. That’s the only way I would be able to earn a decent return on my investment. So, this isn’t a criticism of the publishing model itself. It’s simply intended to educate authors about the true implication of publishing through this type of publisher. If someone else is paying for it, they own it. They control it. Plain and simple.

In this business model, writers usually retain only the basic publishing rights that recognize them as the author of the book and allow them to be paid a small percentage of the retail price in royalties (usually only up to 10 percent per copy sold, but it varies). The trade publisher keeps the rest of the profits because the trade publisher owns the book. Thus, as the owner of the book, that trade publisher also reserves the right to sell off additional reproductive (a.k.a. subsidiary) rights for additional profit down the road.


Authors who choose the vanity publishing route usually retain 100 percent ownership of their written words; however, if the vanity publisher has produced the cover artwork for them, (nine times out of ten, in my personal experience) that company usually retains the copyright of that artwork. This means that authors must always go through the vanity publisher to have their marketing materials and books printed.

A contract with a vanity publisher will usually also give that publisher non-exclusive online distribution rights throughout North America, the United Kingdom, Europe, and possibly the whole world. All this means is that the publisher reserves the right to sell and distribute copies of the book through its various channels for the duration of the contract; however, this is a non-exclusive contract; therefore, the author (and any other distributor designated by the author) is also free to sell copies of the book within those regions. If it were an exclusive contract, only the publisher would be allowed to sell the book online within those regions.


Last but not least, authors can also choose to publish through a supportive self-publishing house (a.k.a. hybrid publisher) where they will retain 100 percent copyright ownership of both their words and their artwork. Much like the contracts with vanity publishers, a contract with a supportive self-publishing house would also include non-exclusive online distribution rights worldwide for a specified term. This gives the authors much greater exposure without limiting their ability to sell wholesale author copies on their own wherever they choose to sell them.


Eventually, once you’re selling lots of books and making a name for yourself with the general population, you’ll begin to see the true value of retaining majority (i.e., FULL!) copyright ownership—because this is when more business people will come knocking and asking to buy additional reproductive rights to your book. Maybe someone in Quebec will want to purchase the exclusive French language rights to your title so he or she can be the only one to reproduce, print, and distribute it in French to that region’s Francophone population for a profit. Maybe others will want to buy the exclusive North American film rights so that they can adapt the book for film in this region.

You can “divvy up” the rights to a book in so many different ways that it would be impossible to list them all here, but this gives you a very basic idea. It is simplified to provide an easier understanding.

What are all these rights worth? In any industry, a thing is worth what someone will pay for it. It could be worth millions to the primary owner of the book, so it’s a good idea to retain as much, if not ALL, of that ownership as you can right from the start. Then, when the movie producers and foreign publishers start calling, hire an intellectual property attorney to help you determine the best price for each sale of rights to each different buyer.


Whether you’ve written a book, a movie script, or a song, the value of retained copyright ownership is much the same. It’s all intellectual property that can generate additional income through the sale of subsidiary rights.

Most, if not all of us are familiar with Whitney Houston’s cover of Dolly Parton’s song titled “I Will Always Love You.” What you may not be aware of is that, as the copyright owner of that song, Dolly gets paid each time a copy of it is made. She doesn’t have to lift a finger, and she gets paid.

Millions of copies of Whitney Houston’s cover of that song were made. And Dolly got paid on every one of them.

Retained copyright ownership of your intellectual property is potentially priceless. It doesn’t get any simpler than that.

Related reading: Your Intellectual Property is Priceless! 

Related reading: Authors, Keep Your Copyrights. You Earned Them. 

Related reading: Managing Intellectual Property in the Book Publishing Industry

Related reading: Copyright Ownership: Who Owns What?

Related reading: Subsidiary Rights: Acquisition & Licensing

How to Dwarf a Giant

Kim Staflund: founder and publisher at Polished Publishing Group (PPG) and author of the PPG Publisher’s Blog

For Starters, Stop Mentioning Its Name at Every Turn

Last year, an epic battle played out on the North American book publishing landscape.

The conflict pitted an ecommerce retailer/vanity publisher against traditional trade publishers, new ideas against old, price against value, which ultimately spawned the creation of a group called Authors United led by American author Douglas Preston.

In November of 2014, a soldier on the traditional side of this battle was victorious in negotiating a deal that allows trade publishers the continued right to dictate their own recommended retail prices for the books they produce. This has always been the relationship between manufacturers and their retailers, as it should be. The manufacturer (publisher) knows its own production costs and, therefore, sets its recommended retail price based on those costs. The retailer, in turn, lists the item at that suggested price and may or may not provide discounts to their buyers based on their own projected profit margins.

Despite this win, Preston is still concerned.

“The main problem hasn’t gone away,” he told Publisher’s Weekly. “When one company controls 50 percent of the market, and it has proven itself to be ruthless and uncaring with authors, that’s a problem. We don’t want this to happen again.”

His solution is to continue drawing attention to the problem in 2015 by sending a formal complaint to the Department of Justice citing possible antitrust issues which will surely keep this retailer in front-page news for several months to come.

Does anyone remember the movie The Golden Compass? Do you recall all the extra press coverage this movie received back in 2007 when the Catholic Church condemned it for sending an anti-religious message? By calling for a public boycott of the film, the Church actually drew even more attention to it, which inadvertently boosted its sales. That’s why I bought my ticket. I wanted to see what all the fuss was about.

By the same token, if the goal of Authors United is to dwarf a retail giant that has grown too big for its britches over the years, perhaps a more effective tactic would be to stop mentioning its name at every turn. Change the focus altogether.

There are many exceptional retailers around the world that will happily sell various book formats for their clients without exclusivity contracts while also letting those publishers (self-publishers) determine their own recommended retail prices. How about rewarding these allies by referring customers to buy books from them instead of giving all the focus and energy to a perceived adversary?

There are also many potential customers out there with different motives for buying various types of books. Some people make buying decisions based on price while others make buying decisions based on value. There is a time and a place for both types of marketing. It all depends on your book’s customer base and what will speak to them most. Trade published authors and self-publishers alike should do the necessary research to understand what their customers want, rather than blindly choosing one form of marketing over the other based on the viewpoint of one retailer. It is your customer’s wants and needs that should determine your marketing strategy.

Value-based selling is far from being a new concept, even if it’s a bit foreign to some within the book publishing industry. If it can be used to sell a car, a clothing item, or even a cup of coffee, it can be used to sell a book. And, it can result in a higher profit for the copyright owner of that book while providing more value to the buyer. It’s all just a matter of a little education.

How Gratitude and Visualization Can Help Authors Sell More Books

Kim Staflund: founder and publisher at Polished Publishing Group (PPG) and author of the PPG Publisher’s Blog

Kim Staflund’s Personal Story is the Featured “Story of the Week” This Week on

When Australian television producer Rhonda Byrne released The Secret film in 2006, it inspired millions of people all across the world from all walks of life. One of those people was Kim Staflund, bestselling author of the newly released Successful Selling Tips for Introverted Authors, who has enhanced the traditional sales and promotion of all her books using the gratitude and visualization practises recommended by Rhonda.

Staflund believes in the power of love, gratitude, and visualization but offers insight to others who have tried and come up short time and again. “In addition to reading Rhonda’s books, I began researching other individuals who have had success with this to try to understand why some succeed and some don’t,” she says. “One of my all-time favourite sources is a video clip of Oprah Winfrey interviewing Jim Carrey in the late 1990s about how he made his own dreams come true using these techniques. Oprah made the comment, ‘Visualization works if you work hard,’ to which Jim agreed, ‘You can’t just visualize and then go eat a sandwich.’ That interview really resonated with me.”

Two months before Staflund noticed one of her books on a bestseller list for the very first time, she had increased the intensity of her gratitude and visualization sessions to twice daily—first thing every morning as soon as she awoke, and last thing every night before she fell asleep. It certainly did the trick as detailed in her story on

“The key is to feel gratitude for where you are in your life right now. Really feel it,” says Staflund. “And, at the same time, visualize what you love and where you want to go while working toward it on a consistent basis.” All authors are entrepreneurs, and there are certain things they must do if they want to achieve commercial success. As a bestselling author, book publisher, and sales coach for authors, Staflund now devotes her career to sharing her knowledge with others to help them sell more books.

When Staflund first shared her personal story with the team at, she asked them to keep her name anonymous: “I felt shy about coming right out and saying I did this and it worked for me. I’m not entirely sure why.” But after some thought, she realized that what she admires most about people like Rhonda Byrne, Jim Carrey, Jack Canfield, and John Assaraf (to name only a few) is their willingness to share their beliefs and experiences publicly so that others can see real-life people attached to these real-life stories. Doing so made everything that much more believable and inspirational for everyone else.

Staflund has decided to “pay it forward” as they did and give people one more real-life person attached to one more real-life story. She hopes authors all around the world will find it inspirational and helpful along their own journeys to success.

About Kim Staflund

Kim Staflund is the founder and publisher at Polished Publishing Group (PPG) and author of the newly released Successful Selling Tips for Introverted Authors. She is also author of How to Publish a Bestselling Book…and Sell it Worldwide Based on Value, Not Price! released in 2014.

In addition to her book publishing background, Staflund has a substantial sales and sales management history that includes new business development, account and personnel management and leadership experience. Connect with Kim Staflund on Twitter, Google+, LinkedIn, and Facebook.

Kim’s books are all available in both paperback and ebook format through choice booksellers all around the world. Booksellers can order them in via Ingram Content Group.

The War Over How to Price Ebooks: Kindle versus Hachette Book Group (Value-based Selling)

Kim Staflund: founder and publisher at Polished Publishing Group (PPG) and author of the PPG Publisher’s Blog

In addition to my book publishing background, I also worked in the world of print advertising sales for many years—a truly valuable experience for me on so many levels. Each of the companies I worked for were industry leaders within their own fields, and the greatest privilege I derived from working with them was a true understanding (and appreciation!) of the many benefits of value-based selling. I’m grateful to all of them for this education … thank you.

Excerpt from How to Publish a Bestselling Book … and Sell It WORLDWIDE Based on Value, Not Price!:

“…most people are already pretty comfortable with price-based selling (i.e., offering sales and discounts to try to undercut the competition’s price); therefore, we’re going to focus on value-based selling here, instead. It’s an important skill to master because, at the end of the day, anyone can sell on price. But here’s the biggest problem with that plan: if price is the only thing you’ve got, and then someone else with a similar offering comes in at a lower price than you can match, you’re done. You’re finished. You’ve got nowhere else to go. However, if you can learn how to sell based on perceived value right from the start, you’ll always be able to justify your price as it is. You can even increase that price down the road by adding even more value to your overall offering.”

How does this relate to Kindle and the Hachette Book Group? Well, as most people in the digital publishing industry are already aware, there is an ongoing battle between these two giants regarding how to price an ebook. And it’s a passionate war! It’s so passionate, in fact, that Kindle sent out a mass email to all its ebook publishers seeking support of its stance against Hachette, and containing the direct email address for Hachette’s CEO (ouch!), with the hopes we would all send him angry letters in support of Kindle.

In a nutshell, here is Kindle’s stance on how to price ebooks:

“Just ahead of World War II, there was a radical invention that shook the foundations of book publishing. It was the paperback book. This was a time when movie tickets cost 10 or 20 cents, and books cost $2.50. The new paperback cost 25 cents – it was ten times cheaper. Readers loved the paperback and millions of copies were sold in just the first year. With it being so inexpensive and with so many more people able to afford to buy and read books, you would think the literary establishment of the day would have celebrated the invention of the paperback, yes? Nope. Instead, they dug in and circled the wagons. They believed low cost paperbacks would destroy literary culture and harm the industry (not to mention their own bank accounts). Many bookstores refused to stock them, and the early paperback publishers had to use unconventional methods of distribution – places like newsstands and drugstores.…

…Well… history doesn’t repeat itself, but it does rhyme.

Fast forward to today, and it’s the e-book’s turn to be opposed by the literary establishment. Amazon and Hachette – a big US publisher and part of a $10 billion media conglomerate – are in the middle of a business dispute about e-books. We want lower e-book prices. Hachette does not. Many e-books are being released at $14.99 and even $19.99. That is unjustifiably high for an e-book.”

I replied to Kindle’s email and also cc’d Hachette’s CEO on that reply, at their request; but, perhaps, they were expecting a different answer than the one they got from me. I told them I completely disagree with them. I told them that when Kindle tries to control the price of an author’s ebook by saying is must be priced at $9.99 or lower, it is Kindle that is being unfair. For this reason, I won’t put my next book (the one named above) online in Kindle format. It will remain a paperback on the Amazon site along with various other sites, and an ebook on several other ebook sites such as; and it will be listed at $19.99 USD because that is the price I choose to sell it at. The content inside my book is definitely worth the higher price regardless of what format I’m selling it in. (On that note, for the avid Kindle authors out there who believe that a book sold online can only become a bestseller if it’s an ebook that is priced low or given away free of charge, think again. The POD paperback version of my book, How to Publish a Book in Canada . . . and Sell Enough Copies to Make a Profit!, became an bestseller only a short month and a half after it was first published and was also listed as a bestseller in the Calgary Herald a short while later. The recommended retail price for that book is $19.99 USD.)

Let me put this into another context for you. Kindle’s stance that every single ebook should be priced at $9.99 or lower is the equivalent of saying that every single car should be priced at $20,000 or lower, whether it’s a Toyota Corolla or a BMW. That’s absurd, plain and simple.

Pricing a book is a very important component of your overall marketing campaign; and, you have to take many different things into consideration when you’re deciding on that retail price. You have to understand your demographic—your book’s target market—and create your marketing campaign around that. You also have to base your retail price on your own projected profit margins.

It will likely take you forever to make back the money it cost you to properly publish your book (the word “properly” referring to professional copy editing, design, and proofreading) if you set your retail price at $2.99 per copy. Not only that, but such a low price truly devalues your content. When you price a book that low, what you’re telling people is, “This is a cheap book full of cheap content.” It is what it is.

I was surprised to receive a reply from Hachette’s CEO. I figured my email to him would end up in some type of spam blocker along with the thousands of other emails he probably received after the crew at Kindle sent his email address to the world.

In a nutshell, here is Hachette’s stance on how to price ebooks:

“As a publisher, we work to bring a variety of great books to readers, in a variety of formats and prices. We know by experience that there is not one appropriate price for all ebooks, and that all ebooks do not belong in the same $9.99 box.”

Anyone who follows this blog and/or has read my books knows full well I don’t agree with everything the traditional publishers have to say. But I agree with this one wholeheartedly. Hachette understands value-based selling, and I think Kindle should rethink their stance on this. If Kindle truly wants to empower self-publishers in the sale of their own books, then let them set their own prices. Give them their freedom back.

Canadian Book Publishers: Time for a Change!

If there’s one thing I’m passionate about, it’s the Canadian book publishing industry! After reading an article in The Globe and Mail tonight by Anna Porter titled Time to Lead: The shaky state of Canadian book publishing, I was compelled to express my own opinions in this regard… 
RE: “What kind of government policies do we need to keep our vital publishing houses functioning? The old model no longer works.”
I agree that the old model of book publishing no longer works. When restrictive government grants are involved, the potential growth of any publishing company will be stunted.
Around 15 years ago, I worked for a small Canadian literary publisher. As much as I loved the work, I had to leave after three years as I was only earning $1,000 per month in full-time wages (yes, that figure is correct … only $12,000 per year for full-time work). Obviously, it became increasingly difficult to support myself and my son on this menial income. In order to improve my standard of living, my only choice was to change industries, never mind jobs.
I worked in the fulfillment area for that company, and my marketing counterparts and I would often discuss ways we could generate more income for the press. I once approached my directors and recommended we start charging fees for certain things, and I was immediately shut down. “We can’t do that. We’ll lose our grant money if we do.” I even recall a conversation with a colleague about how we could significantly increase our book sales … only to learn that there was a fine line we didn’t want to cross in this regard, too … too many book sales may equate to too much profit which may also jeopardize our ability to qualify for the next grant.
Ridiculous! When government tries to control the way you earn your money and how much money you’re entitled to earn, it stunts your growth potential exponentially! It is killing the industry.
The publishing industry is thriving in the United States for reasons other than population as the author of this article mentions. It is thriving there because they are a “forward thinking” society that is open to all kinds of different book publishing business models and all kinds of different books. In Canada, our publishers are severely limited by genre (“literary” prejudice) and this antiquated notion that the grant operated “traditional” business model is the only way to go. Nothing could be further from the truth!
Here is another thing that is killing the industry: book returns. This is another antiquated business practice. How many other industries would survive if they did business this way, allowing their wholesalers/retailers to return their goods to them damaged and for a full refund at their sole discretion? This is senseless! Perhaps, it made sense at one point in time. But that time has passed. It is long gone.
Years later, rather than waiting around for the government to change their policies, I started my own for-profit Canadian book publishing company. Yes, authors pay for the publication of their books through our “supported self-publishing” business model; however, in return, they retain 100% copyright ownership of their books AND their artwork. We mark all our books NON-returnable. We utilize the Internet and social media to sell our eBooks and paperbacks online. And, most importantly, our income potential (along with our authors’) is uncapped by anyone but ourselves and our own efforts … unlike it is in the “traditional” grant-operated trade/literary book publishing sector. This allows for GROWTH! And this is the type of choice Canada’s book publishing industry needs! This is the kind of choice our authors deserve!
RE: “Fortunately, there are people in this country who value what they contribute to our lives above what they take out of the economy. (That, I hope, answers the question a distinguished lawyer once asked me: If that’s all you make in a year, why don’t you change professions?)”
This always makes me chuckle. Why is it considered so noble to be a “starving artist” in Canada’s literary world? Why can’t Canadian authors have that valued sense of contribution coupled with significant profit potential? I say THEY CAN! THEY SHOULD! That’s why I started my company. And I hope to have a strong influence on changing the way this country views book publishing in the years to come. The author of this article and I definitely agree on one thing—it’s time for a change.
PPG is a Canadian book publisher dedicated to serving Canadian authors. Visit our
book publishing website to learn how you can publish your book today.

As a user of this website, you are authorized only to view, copy, print, and distribute the documents on this website so long as: one (1) the document is used for informational purposes only; and two (2) any copy of the document (or portion thereof) includes the following copyright notice: Copyright © 2012 Polished Publishing Group (PPG). All rights reserved.

Why Canadian Authors Should Publish Through Polished Publishing Group (PPG)

At present, there are three primary ways for Canadians to publish a book: traditional (trade) publishing; vanity publishing; and supported self-publishing. While the trade publishing route is still a respected option for some of today’s authors, many others are choosing supported self-publishing with companies like PPG—and with good reason. In order to fully appreciate the benefits of this new preference, it is important to understand the characteristics that differentiate trade publishing from vanity publishing from supported self-publishing.


Many writers still envision this process when they consider having a book published: seeking out a Canadian trade publisher that will consider their type of work; mailing a query letter and sample chapter or poem to that publisher with a self-addressed stamped envelop attached; and then anxiously awaiting a response, within three to six months, as to whether or not the publisher will take on the project. More often than not, the unknown author’s work is declined; and he or she must move onto the next submission with the next trade publisher in the hopes the book will eventually be accepted.
Those new to the book publishing industry often view this as a personal rejection of their work. Many give up hope of ever being published at all. The truth is, writing quality is not the only determinant trade publishers use when deciding whether or not to accept a manuscript for publication. Most receive hundreds (even thousands) of manuscript submissions each and every year from which they select fewer than one dozen new authors to work with—a discriminatingly low acceptance rate. Obviously, budget and manpower play a huge role in their decisions. But one must also consider that many of the small Canadian literary presses, in particular, are funded by operating grants. These grants contain strict guidelines as to what types of work they can/cannot publish. As a result, these publishers’ hands are sometimes tied and otherwise gifted writers may be overlooked.
For the writers whose work is accepted, there is a noteworthy implication they may not be aware of straightaway. When a trade publisher agrees to pay for the publication of a manuscript, what they are purchasing is the rights to that work. In other words, the writer must now relinquish much of their creative control over to the publisher. It is the publisher who has final say on editing and design. It is the publisher who has final say on how the book is to be produced and marketed … because it is the publisher who now owns the book. Authors retain only basic “publishing rights” that recognize them as the creator of the written words, and they are paid only a small royalty for any sales made by the publisher—often as low as 10%. As the owner of the book, the publisher keeps all remaining profits.
To put this into perspective, let’s say a book is priced at $15 per copy retail. Ten per cent of that is only $1.50. Even if the publisher is able to sell 500 copies of the book, the author will only earn $750 in royalties.
It makes much more sense for authors to buy copies of their books back from the publisher at a wholesale price of $7.50 each and then try to sell them all direct themselves. Even though they won’t earn royalties on these wholesale author copies, they still stand to earn more per unit if they sell them at full price without a middleman between them and their buyer. Make sense? (Even with a middleman, like a bookstore or retail outlet, the author still stands to earn more per unit by selling their own wholesale copies.)
Aside from loss of ownership, another disadvantage to this type of publishing is the timeline. It can take anywhere from three months to a year for authors to learn whether or not their manuscripts have been accepted for publication; and, if accepted, it can take another full year for their books to be published … sometimes more.


Most people have heard the term “vanity publisher” as the less respected publishing alternative. Vanity publishers have earned their notoriety by accepting and publishing 100% of the manuscripts that are rejected by trade publishers without much consideration to quality or content … the opposite extreme of trade publishing. The best way to recognize a vanity publisher is this: their primary concern is profit so they will publish anything for anyone who has the money to pay for it; they hire unseasoned staff at reduced wages so they can charge enticingly low “publishing package” rates; and they won’t actively encourage their writers to improve the quality of their work.
A vanity publisher will take what they receive and publish it as is … no matter what it looks like. Not only does this reflect poorly on the publisher, but it also reflects poorly on the writer. Books that are haphazardly produced in this manner simply cannot expect to compete in the marketplace against a professional trade publisher’s finished product. There is a noticeable difference between the two.
Another issue with today’s vanity publishers is that the majority are either located in the United States or else they cater to the American marketplace (i.e. authors must pay for their publishing services in US dollars which ends up costing them more in the long run). But perhaps the biggest problem with publishing through an American-based publisher is that most of these companies assign American ISBN numbers/barcodes to all their books. This puts Canadians in “limbo” in the sense that their books are not properly recognized by Legal Deposit at Library and Archives Canada (LAC) as they should be.
Most vanity publishers advertise that authors who work with them will retain 100% copyright ownership of their own books; however, they neglect to mention that the print-ready files for those books will be kept “under lock and key” inaccessible to the authors. This means authors must always go through the vanity publisher to have their marketing materials and books printed; and, because most of these publishers utilize only POD printing technology, authors stand to lose money on the larger print runs that really should be completed on either a digital or offset press designed specifically for larger print runs.
One upside to this type of publishing is the timeline. Manuscripts are accepted immediately upon receipt of payment and can be published in as little as two months’ time. Another upside is that vanity publishers pay a significantly higher royalty rate than trade publishers do on any copies of the book they’re able to sell on behalf of the author. Of course, authors can also purchase copies of their books at wholesale prices and sell them on their own for the best profit margin of all.
One final, notable benefit to this book publishing model is that, because authors maintain primary copyright ownership of their books, they reserve the right to sell off additional rights for additional profit down the road. This is where the real money is—in the sale of rights. To understand why, click here.


The supported self-publishing route combines the quality of traditional (trade) publishing with the flexibility and control of vanity publishing. Writers are considered both the author and the publisher of their own books, and the supportive self-publishing house merely assists them in self-publishing their books by supplying all the tools they will need and facilitating the entire process from start to finish.
A qualified supportive self-publishing house requires its writers to have their work copy edited and proofread in the very least. (Trade publishers usually take it a step further and require each and every manuscript to go through a substantive edit.)
Supportive self-publishing houses utilize experienced talent—graphic designers, ghostwriters, editors, proofreaders, indexers, et cetera—to ensure a professional final result. They also employ modern printing techniques (POD) and modern marketing services (online presence) in much the same way today’s vanity publishers do.
When writers pay for professional support in self-publishing their books, they gladly maintain their copyright ownership and creative control. It is the writer/self-publisher who has final say on everything from design to production to marketing the final product. They are also assured a quality end result that is able to compete in the marketplace … which can make a world of difference when it comes to selling their books and earning any kind of profit down the road.
Like vanity publishing, a major advantage to this type of book publishing is the timeline. Most manuscripts are accepted immediately upon receipt of payment and can be published in as little as two or three months’ time. Another upside is that supportive self-publishing houses pay a significantly higher royalty rate than trade publishers do on any copies of the book they’re able to sell on behalf of the author. And, as it is with every other publishing model, authors can purchase copies of their books at wholesale prices and sell them on their own for the best profit margin.
The most important benefit to this book publishing model is that authors maintain primary copyright ownership of their books. By doing so, they reserve the right to sell off additional rights for additional profit down the road. This is where the real money is—in the sale of rights. For a better understanding as to why this is,
click here.
There are four additional advantages to self-publishing through PPG in particular:

  1. Canadian ISBN numbers: PPG will put the author/self-publisher’s primary contact information on each book’s Canadian ISBN application form to ensure the ISBN number is linked to the true copyright owner of the book—the author/self-publisher.

  2. Canadian-tailored payment options: All transactions completed through the PPG Online Store are done in Canadian funds, thereby removing the hassles and extra fees associated with exchange rates. The total price authors see on their online store orders is the actual total they will pay, and nothing more.

  3. Author-tailored printing options: When authors choose PPG to support them in self-publishing, not only will they retain the copyright ownership of their books, but PPG will also give the final print-ready files to the rightful owner … the author/self-publisher. This means at any time authors decide to print larger runs (100+ physical copies) of their books to warehouse/distribute on their own, they can feel free to shop around for the best deal with all the printers in their areas. (For convenience, PPG offers a handy, ECO-friendly POD service for all small orders which allows authors to take advantage of PPG’s online distribution services.)

  4. Modern ECO-friendly book publishing options: PPG operates in a paperless, virtual office environment. The company’s publishing processes are completely electronic which boosts productivity and makes information sharing much easier from any location anywhere in the country with Internet access. PPG produces both eBooks and print-on-demand (POD) paperback books for Canadian authors—two more ways the company is helping to preserve the environment while helping aspiring authors realize the dream of publishing a book.

The introduction of supported self-publishing to Canada’s book publishing landscape is definitely good news for writers. By combining the quality and expertise of trade publishing with the flexibility of vanity publishing, Canadian authors now have more control than ever before to produce a polished result they can be very proud of.

PPG is a Canadian book publisher dedicated to serving Canadian authors. Visit our book publishing website to learn how you can publish your book today.


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The Entrepreneurial Author

The following guest blog post is by Stuart Smith, CEO of The Entrepreneur’s Advisor.

Writing and then having your book published can be very challenging unless you approach the task as an entrepreneur would. The key to success is breaking down the steps to success into their basic components.

Creating a book

The Entrepreneurial Author

An author must pick their subject, think through a plot, write the content, review for quality and format, and finally promote the book for sale. Viewing this as a business you see many similarities:


  • Choose the business (selling books).
  • Think through your idea: who will buy, why will they buy, how will they buy, where will they buy, when will they buy?
  • Create a plan of action. This is the content portion of a business plan. Here you will also identify how you will market and sell your book.
  • Have your business plan reviewed. This is the same as having a Canadian publishing companyexamine your work.
  • Start your business. For Canadian authors this is all about marketing your work.

Authors are, by nature, creative individuals just as many scientists and visionaries are. It is unlikely that a new author is aware of all the intricacies of publishing a book in Canada or worldwide. It is ok to ask for help.

Choosing the Right Partner

When seeking assistance, be prepared and do your research. Can the Canadian book publishing company you are engaging:


Most importantly, you want to make sure the staff of the publishing company puts you at ease so you can have more time to focus on the book to avoid writer’s block as well as other distractions. Contact us today to see how easy it is to publish a book in Canada. We will help you sell more books.

* * *    * * *   * * *


PPG is a professional book publisher dedicated to serving serious-minded authors around the world. Visit our group of websites today:


PPG Book Publishing Website:
PPG Publisher’s Blog:
PPG Writers Forum:


As a user of this website, you are authorized only to view, copy, print, and distribute the documents on this website so long as: one (1) the document is used for informational purposes only; and two (2) any copy of the document (or portion thereof) includes the following copyright notice: Copyright © 2009 to [current year] Polished Publishing Group (PPG). All rights reserved.