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Book Advances, Royalty Checks, And Making A Living As A Writer
By Adriann Ranta
By Adriann Ranta
Few writers know what kind of payment to expect once a novel has gone under contract at a publishing house. Money is a frustratingly taboo subject and the sources for authors trying to get educated on book advances and royalties are scant. Though for many writers the whole issue of money is secondary to the satisfaction of having a book actually published (bestselling author Matt Richtel joked that he would have sold his novel for a six-pack of beer), compensation is nonetheless a topic worthy of exploration.
The percentage of writers make a living off of their writing is pitifully small, and that's one reason so many fiction writers keep their day jobs. Brent Ghelfi, author of VOLK'S GAME, has been in law and business for years. Michael Loyd Gray, author of CONFEDERATE NATION and DECEMBER'S CHILDREN, has been a college professor for thirteen years. Matt Richtel, author of HOOKED, is a veteran reporter for The New York Times as well as a comic strip writer. These jobs double as novel fodder as well as an additional way to pay the rent.
The situation of these authors matches the experiences of Jessica Faust, one of the founding literary agents of Bookends, Inc. When asked what percentage of her literary clients make enough to live off of, she estimated fewer than 10%.
"If you want to make your living off your writing, you need to do more than write books, at least initially," says Faust. "There are a lot of great ways with magazines and newspapers. Authors I have that really want to make a living often write more than just books. Then over time as their careers grow, hopefully they can survive just on what they make on their books. Don't expect to pay off your house with your first book deal."
While Richtel, Gray, and Ghelfi all have hopes of one day making a comfortable living as a writer, this simply isn't possible yet. All three authors had varying advance amounts, some in the six-figure category, but even the most encouraging of advances doesn't guarantee dependable income over the long run, which is what making a living is all about.
In some cases, a big advance can actually hurt a writer's potential long-term earnings because if the first book doesn't earn out its advance, the odds of contracts for future books diminish considerably. Three of our clients at The Editorial Department have found themselves in this position-a six-figure advance from a major publisher that didn't earn out and thus made their next book difficult or impossible to sell. This is far too common in publishing when it comes to first novels, no matter how talented the writer. The challenge of being a small fish in a big pond-particularly with the majority of advertising and promotion dollars going to established bestsellers-is very real. Earning out an advance is part of the reason new writers must work so hard on their own, regardless of what their publisher is or is not doing for them on the promotion front.
"Over the long term, it does interest me," says Richtel on the subject of making a living as a writer, "but I'm very skeptical. I'm not even to the point of cautious optimism because I have a wife, we want to have a family-I think it's possible to eke out a living as a fiction writer when your expenses aren't those of a mid-career person. For me, making a living means paying my bills and not living in terror."
The Advance Itself
Exact numbers of book advances are frustratingly hard to come by. Perhaps reluctance to talk dollars and cents when it comes to book advances is a by-product of either embarrassment or a sort of survivor's guilt while other writers continue to struggle or starve. Regardless, an advance is perceived as an indicator of value rather than an educated guess about a cut of future earnings.
Faust describes the advance this way:
"With most publishers an advance usually reflects your book's earning potential the first year it's on sale, less costs to the publisher. What does that mean? Traditionally when publishers run those elusive numbers they try to estimate how many copies a book will sell its first year in print, then they try to figure out how much it's going to cost them to make that book-design the cover, pay for paper, printing, binding, and shipping costs-and then they will figure out how much you might make on the book based on your royalty percentage. And that's your advance. It's your share of the book's profit its first year in print. Of course the publisher (and you) hopes you far exceed that number and that first royalty statement blows the advance out of the water."
Manuscripts are printed in hardcover, trade paper, or mass market editions, determined by comparison books, review potential, high concept, and quality writing.
Rick Horgan, Executive Editor of Crown, an imprint of Random House, was kind enough to break down those "elusive numbers," which end up sounding like a complicated high school math problem. Horgan estimated a distribution of 25,000 copies on an average commercial fiction launch for an author's debut novel in hardcover. The publishing house might announce 50,000 copies, but this is a "gross exaggeration because publishers always over-announce," Horgan says. Of those 25,000 copies, 65% will sell through with the remaining 35% in returns. To put it simply, if the publisher ended up selling roughly 15,000 copies, with the author making 15% in royalties on a $25 hardcover ($3.75 per book), that equates to about $50,000 in author earnings on a hardcover printing.
Many novels also have a paperback life. The formula Crown uses is half-half the distribution, half the author's royalty rate, at half the book's selling price. If the hardcover had a sell-through of 15,000 copies, the paperback run would be 7,500 to 10,000 paperbacks, either trade paper or mass market. The typical sell-through rate of trade paper is 70%. The typical royalty rate is 7.5% of $13.95 ($1 per book), making about $7,000 in profit for the author on the paperback run.
"If it had some legs it would sell a little bit more in the next few years," Horgan says, "but it tells you that for a hardcover fiction novel, publishers probably will be thinking $75,000 and the agent will probably try and pull them up to six figures." This is a specific example for a hardcover novel, however.
"If you sent me a book that was a trade paper submission," says Horgan, "say it's a TV companion guide to that Keifer Sutherland show, '24,' an episode guide. You'd view it through a whole new lens. No one's going to pay $25 for this book, every other TV companion guide in the universe, they're trade paperbacks, you'd price it at $13 at 7.5% royalty rate. You'll try to get out 15,000 copies, you'd look at what previous TV companion guides ultimately netted. You probably won't project a net more than 20,000 copies. Therefore the advance I'm probably going to pay is $15-20,000."
Academic and poetry presses distribute much smaller quantities-2-3,000 copies-at a rate more akin to pro-bono work. The economic model is simply different and can't be compared to big New York publishing houses like Random House.
Advances are rarely paid out all at once. Usually, half of the agreed upon amount is paid on signing the contract with the other half due once the revised manuscript is delivered and accepted by the editor. According to Faust, however, this payment schedule is on the move.
"It seems that more and more publishers are dividing payments into thirds, or more," says Faust. "Partial payment on signing, partial on delivery and acceptance, sometimes partial on the delivery and acceptance of proposals for any other books, and the dreaded partial payment upon publication. I hate that. Authors hate it. Agents hate it and publishers love it. It's becoming standard now at most houses, so complain all you want, you're not getting out of it, no matter how small your advance is."
While negotiation on the advance amount occurs between agent and the editor, there is something the author can contribute to a larger payout: marketing.
Marketing and Royalties
Unless your last name is King, Steele, or Evanovich, a book advance is probably not something a writer can live on, unless he/she is going for the lean, hungry look. While writers have very little control over the amount of their advances, they have more responsibility for the size of their royalty checks than anyone else in the food chain. When and if a book has met and exceeded the amount paid on the advance, the author starts making a percentage of subsequent sales. As mentioned above, the average royalty rate for a hardcover is 15% of the book's list price, and for a paperback, 7.5%. The more copies you're able to sell, the more money you make.
The success of a first book determines the future of a second book: if a debut tanks, publishers are less likely to take a chance on a large advance amount or to even bring out the second book at all. Demonstrating initiative and eventual profit on a novel is most important for debut authors.
"I've taken seriously the marketing piece of this and I've done so in part because I'm interested in seeing if I could build an audience for myself that could create a market for a second book," says Richtel. "I've done so in an equal part if not larger part because I really care about this book and the ideas in it, and I really enjoy talking about them and doing radio and TV."
When purchased by a traditional publishing house, an in-house publicist is generally assigned to your book. This person should be well-connected and knowledgeable about the most viable market for everything from Cajun cookbooks to Jane Austen reprints.
"I didn't leave it entirely in the publisher's hands," says Richtel. "The publisher did a pretty good job-by first book standards an amazing job. They contacted hundreds of media outlets, but I also wound up working with a publicist I know locally who was able to contact more tech-centric journalists, people who might know of me or some of the subject matter in the book that the publicist at the national level probably wouldn't . And that paid huge dividends."
On a smaller scale, authors can continue to follow Richtel's advice without his New York Times contacts. "I also followed the lead of a number of authors who have given me counsel, who've said 'Go into bookstores, introduce yourself, for the love of God, don't be a prima donna about it,'" Richtel says. "I've been fairly unabashed in sending out a handful of e-mails to friends and other people asking them to spread the word. I've put up a website, I've had a bunch of cards printed out with the name of the book on them and tried to give them out in a not-too-offensive way."
The initiative of a writer is also important to literary agents.
"I'm not signing a book, I'm signing a writer," says Kelly Mortimer, literary agent at Mortimer Literary Agency. "I look at the writer's potential... What kind of personality do they have? Are they a go-getter, or do they lack the skills they need to promote themselves?"
Faust thinks marketability is the most valuable quality in a first novel. Whether the marketability derives from the writing or the author is inconsequential as long as there's something to pitch.
"For a first novel, if you can come up with a really interesting hook, that's what's going to get you in the door almost more than anything else," Faust says. "Once you have a track record and your name itself is the marketable product, I don't think you have to worry so much about the hook."
With such a competitive industry as publishing, it's natural to seek out alternative modes of publication. Print on Demand and self-publishing companies have gained popularity as a way to publish a manuscript with little or no editorial intervention and regardless of a third-party publisher's notion of sales viability. When an author chooses to self-publish, the need to be his/her own publicist becomes especially important. Instead of helping a publicity team, you are the publicity team. The financial burden of promoting a book is on your shoulders and dependant on the contacts you have. Gray self-published his first novel and published his second through Publish America, a blend of traditional and Print on Demand publishing.
"You do have to do a lot on your own with Publish America," Gray says. "Publish America does make the book available in a variety of databases and does some promotion-they send out press releases to some select markets and things like that. I certainly didn't have to pay for it, but I still have to get it into Borders and Barnes and Noble."
In other words, using a less traditional mode of publishing puts more of the burden on the author. Gray would have to contact every individual Border's location to ask them to sell his book as well as Barnes and Noble's regional distributor, a contact that probably isn't in his rolodex. The benefit of an in-house publicist at a traditional publishing house is that they are professionals at marketing a book. They know what works, they know who to talk to, and they know what makes people buy, buy, buy.
What You Can Do
Despite the rumors, traditional publishing isn't going anywhere. There are back doors and loopholes, but the surest way to make money by book publishing is through a literary agent and publishing house. While self-publishing and Print on Demand might be a viable technique to get a new voice to the public, it's generally best thought of as a stepping stone to making a living as a writer. The exception here is when an author has a significant professional platform of some sort that can be exploited to sell books. While authors who self-publish probably have the hardest time when it comes to selling their books, authors of traditionally published books are well advised to be highly proactive rather than leaving the marketing to their assigned publicist, no matter how good they may be. To make the most money off of a book deal, authors, editors, and literary agents have lots of recommendations.
"Look into promotion," Mortimer says. "Local newspapers and radio stations love to feature hometown authors. Make contacts. Every author dreams about having a big book signing. Unless you're famous or have some angle, these often end up as if you threw a party and no one showed. Instead, try public speaking with a signing afterward. A serious writer has to have a website, and give their readers a reason to go back to it. Have contests, writing tips, interviews, etc. Make more contacts. Oh, and one last thing. Make contacts!"
In the same vein, Richtel owes a lot of his success to his business contacts through The New York Times. "Fiction, as much as everything else, is who you know," says Richtel. "I discovered that the agents that made an offer to take me on were largely those who I had a personal connection to through a friend or through a work colleague. It was a startlingly high correlation between who wanted to take me on and who I had a connection to, and that flows in part from the Times. You know a lot of writers as a journalist." Making the job easier for the often overworked editors and agents is another technique to increasing a payout.
"It's really important to have an idea that can be easily summed up," Horgan says. "It just makes everybody's task of pitching something easier. That's very helpful. Know your genre, too. There are so many people working in genres who have read only sporadically in their genres and they make the mistake of using devices that have been used way too much already. The job of a writer is to assess and build on what has been done, so they have to know what has been done already."
Building a platform is another way to make yourself attractive as a client and marketable author. In the context of publishing, a platform is the marketable aspects of a writer, encompassing past accomplishments, media exposure, and public notoriety. A platform is the best indicator of your ability to sell your book on your own-this is why celebrities are such a hot commodity. While Faust believes that a writer's platform isn't as important in the grand scheme of things, Mortimer disagrees.
"A strong platform is vital to a debut author," Mortimer says. "I'm in a situation right now that really chaps my hide. I have a couple of exceptional manuscripts editors loved that have gone to committee numerous times and get shot down because, 'The writer doesn't have a strong enough platform.' My advice to aspiring authors: GET A STRONG PLATFORM. NOW!"
Richtel felt being able to write "New York Times journalist" next to his name affected his advance amount, Ghelfi has several more book proposals lined up, and Gray has been working for years on collecting short story prizes.
"I've discovered that when you're soliciting agents or soliciting editors, if you can send them a letter or e-mail saying I won this, or I won that, they pay more attention to you," Gray says. "It all adds up to a record so they can see I'm not a rookie, I've been out there and done some things... I was very fortunate to win some nice short story awards and that opened some doors. They don't look at you as some wannabe but as someone who's done it."
The most important aspect of wringing the most money out of a book deal is something that all the interviewed writers and agents agreed on: The absolute necessity to love what you're writing.
"Make sure it's exciting and interesting to you, because if it's not then it won't be interesting to someone else trying to read it," Ghelfi says. "I think that anybody who gets into writing with the expectation to be rich and famous is making a big mistake... I tell people, if you love it then you're doing it for the right reason."
When an author cares about his project, it shows. The writing is more passionate, the author is more willing to devote the long hours to editing drafts, and marketing the book becomes a labor of love instead of a chore. Putting your utmost effort into every step of the publishing process is what will affect your book sales, and thus your bank account.
The percentage of writers make a living off of their writing is pitifully small, and that's one reason so many fiction writers keep their day jobs. Brent Ghelfi, author of VOLK'S GAME, has been in law and business for years. Michael Loyd Gray, author of CONFEDERATE NATION and DECEMBER'S CHILDREN, has been a college professor for thirteen years. Matt Richtel, author of HOOKED, is a veteran reporter for The New York Times as well as a comic strip writer. These jobs double as novel fodder as well as an additional way to pay the rent.
The situation of these authors matches the experiences of Jessica Faust, one of the founding literary agents of Bookends, Inc. When asked what percentage of her literary clients make enough to live off of, she estimated fewer than 10%.
"If you want to make your living off your writing, you need to do more than write books, at least initially," says Faust. "There are a lot of great ways with magazines and newspapers. Authors I have that really want to make a living often write more than just books. Then over time as their careers grow, hopefully they can survive just on what they make on their books. Don't expect to pay off your house with your first book deal."
While Richtel, Gray, and Ghelfi all have hopes of one day making a comfortable living as a writer, this simply isn't possible yet. All three authors had varying advance amounts, some in the six-figure category, but even the most encouraging of advances doesn't guarantee dependable income over the long run, which is what making a living is all about.
In some cases, a big advance can actually hurt a writer's potential long-term earnings because if the first book doesn't earn out its advance, the odds of contracts for future books diminish considerably. Three of our clients at The Editorial Department have found themselves in this position-a six-figure advance from a major publisher that didn't earn out and thus made their next book difficult or impossible to sell. This is far too common in publishing when it comes to first novels, no matter how talented the writer. The challenge of being a small fish in a big pond-particularly with the majority of advertising and promotion dollars going to established bestsellers-is very real. Earning out an advance is part of the reason new writers must work so hard on their own, regardless of what their publisher is or is not doing for them on the promotion front.
"Over the long term, it does interest me," says Richtel on the subject of making a living as a writer, "but I'm very skeptical. I'm not even to the point of cautious optimism because I have a wife, we want to have a family-I think it's possible to eke out a living as a fiction writer when your expenses aren't those of a mid-career person. For me, making a living means paying my bills and not living in terror."
The Advance Itself
Exact numbers of book advances are frustratingly hard to come by. Perhaps reluctance to talk dollars and cents when it comes to book advances is a by-product of either embarrassment or a sort of survivor's guilt while other writers continue to struggle or starve. Regardless, an advance is perceived as an indicator of value rather than an educated guess about a cut of future earnings.
Faust describes the advance this way:
"With most publishers an advance usually reflects your book's earning potential the first year it's on sale, less costs to the publisher. What does that mean? Traditionally when publishers run those elusive numbers they try to estimate how many copies a book will sell its first year in print, then they try to figure out how much it's going to cost them to make that book-design the cover, pay for paper, printing, binding, and shipping costs-and then they will figure out how much you might make on the book based on your royalty percentage. And that's your advance. It's your share of the book's profit its first year in print. Of course the publisher (and you) hopes you far exceed that number and that first royalty statement blows the advance out of the water."
Manuscripts are printed in hardcover, trade paper, or mass market editions, determined by comparison books, review potential, high concept, and quality writing.
Rick Horgan, Executive Editor of Crown, an imprint of Random House, was kind enough to break down those "elusive numbers," which end up sounding like a complicated high school math problem. Horgan estimated a distribution of 25,000 copies on an average commercial fiction launch for an author's debut novel in hardcover. The publishing house might announce 50,000 copies, but this is a "gross exaggeration because publishers always over-announce," Horgan says. Of those 25,000 copies, 65% will sell through with the remaining 35% in returns. To put it simply, if the publisher ended up selling roughly 15,000 copies, with the author making 15% in royalties on a $25 hardcover ($3.75 per book), that equates to about $50,000 in author earnings on a hardcover printing.
Many novels also have a paperback life. The formula Crown uses is half-half the distribution, half the author's royalty rate, at half the book's selling price. If the hardcover had a sell-through of 15,000 copies, the paperback run would be 7,500 to 10,000 paperbacks, either trade paper or mass market. The typical sell-through rate of trade paper is 70%. The typical royalty rate is 7.5% of $13.95 ($1 per book), making about $7,000 in profit for the author on the paperback run.
"If it had some legs it would sell a little bit more in the next few years," Horgan says, "but it tells you that for a hardcover fiction novel, publishers probably will be thinking $75,000 and the agent will probably try and pull them up to six figures." This is a specific example for a hardcover novel, however.
"If you sent me a book that was a trade paper submission," says Horgan, "say it's a TV companion guide to that Keifer Sutherland show, '24,' an episode guide. You'd view it through a whole new lens. No one's going to pay $25 for this book, every other TV companion guide in the universe, they're trade paperbacks, you'd price it at $13 at 7.5% royalty rate. You'll try to get out 15,000 copies, you'd look at what previous TV companion guides ultimately netted. You probably won't project a net more than 20,000 copies. Therefore the advance I'm probably going to pay is $15-20,000."
Academic and poetry presses distribute much smaller quantities-2-3,000 copies-at a rate more akin to pro-bono work. The economic model is simply different and can't be compared to big New York publishing houses like Random House.
Advances are rarely paid out all at once. Usually, half of the agreed upon amount is paid on signing the contract with the other half due once the revised manuscript is delivered and accepted by the editor. According to Faust, however, this payment schedule is on the move.
"It seems that more and more publishers are dividing payments into thirds, or more," says Faust. "Partial payment on signing, partial on delivery and acceptance, sometimes partial on the delivery and acceptance of proposals for any other books, and the dreaded partial payment upon publication. I hate that. Authors hate it. Agents hate it and publishers love it. It's becoming standard now at most houses, so complain all you want, you're not getting out of it, no matter how small your advance is."
While negotiation on the advance amount occurs between agent and the editor, there is something the author can contribute to a larger payout: marketing.
Marketing and Royalties
Unless your last name is King, Steele, or Evanovich, a book advance is probably not something a writer can live on, unless he/she is going for the lean, hungry look. While writers have very little control over the amount of their advances, they have more responsibility for the size of their royalty checks than anyone else in the food chain. When and if a book has met and exceeded the amount paid on the advance, the author starts making a percentage of subsequent sales. As mentioned above, the average royalty rate for a hardcover is 15% of the book's list price, and for a paperback, 7.5%. The more copies you're able to sell, the more money you make.
The success of a first book determines the future of a second book: if a debut tanks, publishers are less likely to take a chance on a large advance amount or to even bring out the second book at all. Demonstrating initiative and eventual profit on a novel is most important for debut authors.
"I've taken seriously the marketing piece of this and I've done so in part because I'm interested in seeing if I could build an audience for myself that could create a market for a second book," says Richtel. "I've done so in an equal part if not larger part because I really care about this book and the ideas in it, and I really enjoy talking about them and doing radio and TV."
When purchased by a traditional publishing house, an in-house publicist is generally assigned to your book. This person should be well-connected and knowledgeable about the most viable market for everything from Cajun cookbooks to Jane Austen reprints.
"I didn't leave it entirely in the publisher's hands," says Richtel. "The publisher did a pretty good job-by first book standards an amazing job. They contacted hundreds of media outlets, but I also wound up working with a publicist I know locally who was able to contact more tech-centric journalists, people who might know of me or some of the subject matter in the book that the publicist at the national level probably wouldn't . And that paid huge dividends."
On a smaller scale, authors can continue to follow Richtel's advice without his New York Times contacts. "I also followed the lead of a number of authors who have given me counsel, who've said 'Go into bookstores, introduce yourself, for the love of God, don't be a prima donna about it,'" Richtel says. "I've been fairly unabashed in sending out a handful of e-mails to friends and other people asking them to spread the word. I've put up a website, I've had a bunch of cards printed out with the name of the book on them and tried to give them out in a not-too-offensive way."
The initiative of a writer is also important to literary agents.
"I'm not signing a book, I'm signing a writer," says Kelly Mortimer, literary agent at Mortimer Literary Agency. "I look at the writer's potential... What kind of personality do they have? Are they a go-getter, or do they lack the skills they need to promote themselves?"
Faust thinks marketability is the most valuable quality in a first novel. Whether the marketability derives from the writing or the author is inconsequential as long as there's something to pitch.
"For a first novel, if you can come up with a really interesting hook, that's what's going to get you in the door almost more than anything else," Faust says. "Once you have a track record and your name itself is the marketable product, I don't think you have to worry so much about the hook."
With such a competitive industry as publishing, it's natural to seek out alternative modes of publication. Print on Demand and self-publishing companies have gained popularity as a way to publish a manuscript with little or no editorial intervention and regardless of a third-party publisher's notion of sales viability. When an author chooses to self-publish, the need to be his/her own publicist becomes especially important. Instead of helping a publicity team, you are the publicity team. The financial burden of promoting a book is on your shoulders and dependant on the contacts you have. Gray self-published his first novel and published his second through Publish America, a blend of traditional and Print on Demand publishing.
"You do have to do a lot on your own with Publish America," Gray says. "Publish America does make the book available in a variety of databases and does some promotion-they send out press releases to some select markets and things like that. I certainly didn't have to pay for it, but I still have to get it into Borders and Barnes and Noble."
In other words, using a less traditional mode of publishing puts more of the burden on the author. Gray would have to contact every individual Border's location to ask them to sell his book as well as Barnes and Noble's regional distributor, a contact that probably isn't in his rolodex. The benefit of an in-house publicist at a traditional publishing house is that they are professionals at marketing a book. They know what works, they know who to talk to, and they know what makes people buy, buy, buy.
What You Can Do
Despite the rumors, traditional publishing isn't going anywhere. There are back doors and loopholes, but the surest way to make money by book publishing is through a literary agent and publishing house. While self-publishing and Print on Demand might be a viable technique to get a new voice to the public, it's generally best thought of as a stepping stone to making a living as a writer. The exception here is when an author has a significant professional platform of some sort that can be exploited to sell books. While authors who self-publish probably have the hardest time when it comes to selling their books, authors of traditionally published books are well advised to be highly proactive rather than leaving the marketing to their assigned publicist, no matter how good they may be. To make the most money off of a book deal, authors, editors, and literary agents have lots of recommendations.
"Look into promotion," Mortimer says. "Local newspapers and radio stations love to feature hometown authors. Make contacts. Every author dreams about having a big book signing. Unless you're famous or have some angle, these often end up as if you threw a party and no one showed. Instead, try public speaking with a signing afterward. A serious writer has to have a website, and give their readers a reason to go back to it. Have contests, writing tips, interviews, etc. Make more contacts. Oh, and one last thing. Make contacts!"
In the same vein, Richtel owes a lot of his success to his business contacts through The New York Times. "Fiction, as much as everything else, is who you know," says Richtel. "I discovered that the agents that made an offer to take me on were largely those who I had a personal connection to through a friend or through a work colleague. It was a startlingly high correlation between who wanted to take me on and who I had a connection to, and that flows in part from the Times. You know a lot of writers as a journalist." Making the job easier for the often overworked editors and agents is another technique to increasing a payout.
"It's really important to have an idea that can be easily summed up," Horgan says. "It just makes everybody's task of pitching something easier. That's very helpful. Know your genre, too. There are so many people working in genres who have read only sporadically in their genres and they make the mistake of using devices that have been used way too much already. The job of a writer is to assess and build on what has been done, so they have to know what has been done already."
Building a platform is another way to make yourself attractive as a client and marketable author. In the context of publishing, a platform is the marketable aspects of a writer, encompassing past accomplishments, media exposure, and public notoriety. A platform is the best indicator of your ability to sell your book on your own-this is why celebrities are such a hot commodity. While Faust believes that a writer's platform isn't as important in the grand scheme of things, Mortimer disagrees.
"A strong platform is vital to a debut author," Mortimer says. "I'm in a situation right now that really chaps my hide. I have a couple of exceptional manuscripts editors loved that have gone to committee numerous times and get shot down because, 'The writer doesn't have a strong enough platform.' My advice to aspiring authors: GET A STRONG PLATFORM. NOW!"
Richtel felt being able to write "New York Times journalist" next to his name affected his advance amount, Ghelfi has several more book proposals lined up, and Gray has been working for years on collecting short story prizes.
"I've discovered that when you're soliciting agents or soliciting editors, if you can send them a letter or e-mail saying I won this, or I won that, they pay more attention to you," Gray says. "It all adds up to a record so they can see I'm not a rookie, I've been out there and done some things... I was very fortunate to win some nice short story awards and that opened some doors. They don't look at you as some wannabe but as someone who's done it."
The most important aspect of wringing the most money out of a book deal is something that all the interviewed writers and agents agreed on: The absolute necessity to love what you're writing.
"Make sure it's exciting and interesting to you, because if it's not then it won't be interesting to someone else trying to read it," Ghelfi says. "I think that anybody who gets into writing with the expectation to be rich and famous is making a big mistake... I tell people, if you love it then you're doing it for the right reason."
When an author cares about his project, it shows. The writing is more passionate, the author is more willing to devote the long hours to editing drafts, and marketing the book becomes a labor of love instead of a chore. Putting your utmost effort into every step of the publishing process is what will affect your book sales, and thus your bank account.
Founded in 1980 by Self-Editing for Fiction Writers coauthor Renni Browne to help writers turn promising manuscripts into salable properties, The Editorial Department is the oldest independent editorial firm in operation today. What sets us apart from others in our field are our 27 years in business, our high rate of success with conventionally published first fiction, our literary agent matchmaking program, and our commitment to candor and high standards in evaluating our clients' work.
Our editorial staff comprises a team of dedicated editors, many of whom are published writers themselves with distinct areas of specialization. While we can't guarantee you publication as a result of working with The Editorial Department, we can dramatically improve your odds.
Check out our website at: http://www.editorialdepartment.com
Between the Lines, our e-zine: http://www.editorialdepartment.com/content/view/50/356/
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Berapa sih nilai dari blog gue DALAM DOLLAR ? http://richardnata.blogspot.com/2015/04/berapa-sih-nilai-dari-blog-gue-dalam.html
Berapa sih nilai dari blog gue DALAM DOLLAR ? http://richardnata.blogspot.com/2015/04/berapa-sih-nilai-dari-blog-gue-dalam.html
Let me introduce myself. My name is Richard Nata. I am an author, novelist, blogger and ghost writer. My articles, including short stories have been published in magazines and newspapers since 1994. I have written a lot of books, both fiction and non-fiction. So I was a professional in the field of writing, both fiction and non-fiction.
I was born in Jakarta, August 17, 1968.
In 1988, at the age of 20 years, I started working as an accounting staff. Age 24 years has occupied the position of Finance Manager. Age 26 years as a General Manager.
In 1994, my articles published in magazines and tabloids.
In 1997, I wrote a book entitled "Buku Pintar Mencari Kerja". This book is reprinted as much as 8 times. Through the book, the authors successfully helped tens of thousands of people get jobs at once successful in their careers. They were also successful when moving to work in other places.
In 1998, I started investing in shares on Bursa Efek Indonesia (Indonesia stock exchange). As a result of investing in the stock market then I can provide consulting services for companies that want to go public in Indonesia stock exchange.
more information :
1. IPO KAN PERUSAHAAN ANDA DI BEI, TRIK TERCEPAT MENJADIKAN ANDA SEORANG KONGLOMERAT. brand, ideas, story, style, my life: IPO KAN PERUSAHAAN ANDA DI BEI, TRIK TERCEPAT MENJADIKAN ANDA SEORANG KONGLOMERAT.
2. JASA KONSULTAN GO PUBLIC ( IPO ) DI BURSA EFEK INDONESIA.
Lihat preview menurut Yahoo
In 2015, Richard Nata revise the "Buku Pintar Mencari Kerja" became BUKU PINTAR DAPAT KERJA GAJI TINGGI PINDAH KERJA GAJI SEMAKIN TINGGI
BUKU PINTAR DAPAT KERJA GAJI TINGGI PINDAH KERJA GAJI SEMAKIN TINGGI made by retyping the book BEST SELLER of the author, entitled “Buku Pintar Mencari Kerja”. This ebook available on google play.
In 2015, I had the idea of a startup company where the readers can decide for themselves the next story. WASN'T THIS A GREAT IDEA? IF can be realized WILL BE WORTH billions USD. Because CAN PRODUCE FOR MILLIONS OF DOLLARS even tens of millions USD annually.
In theory, in 10-20 years into the future, my startup income, amounting to hundreds of million USD annually can be obtained easily. AND IF FOLLOWED BY MANY COMPANIES IN THE WHOLE WORLD WILL THEN BE A NEW INDUSTRIAL worth trillions USD.
To be honest. Currently I'm not having a lot of money. So I start marketing my startup with blogspot.
My STARTUP :
Let me introduce myself. My name is Richard Nata. I am an author, novelist, blogger and ghost writer. My articles, including short stories have been published in magazines and newspapers since 1994. I have written a lot of books, both fiction and non-fiction. So I was a professional in the field of writing, both fiction and non-fiction.
I was born in Jakarta, August 17, 1968.
In 1988, at the age of 20 years, I started working as an accounting staff. Age 24 years has occupied the position of Finance Manager. Age 26 years as a General Manager.
In 1994, my articles published in magazines and tabloids.
In 1997, I wrote a book entitled "Buku Pintar Mencari Kerja". This book is reprinted as much as 8 times. Through the book, the authors successfully helped tens of thousands of people get jobs at once successful in their careers. They were also successful when moving to work in other places.
In 1998, I started investing in shares on Bursa Efek Indonesia (Indonesia stock exchange). As a result of investing in the stock market then I can provide consulting services for companies that want to go public in Indonesia stock exchange.
more information :
1. IPO KAN PERUSAHAAN ANDA DI BEI, TRIK TERCEPAT MENJADIKAN ANDA SEORANG KONGLOMERAT. brand, ideas, story, style, my life: IPO KAN PERUSAHAAN ANDA DI BEI, TRIK TERCEPAT MENJADIKAN ANDA SEORANG KONGLOMERAT.
| |||||||
2. JASA KONSULTAN GO PUBLIC ( IPO ) DI BURSA EFEK INDONESIA.
| |||||||
Lihat preview menurut Yahoo
| |||||||
In 2015, Richard Nata revise the "Buku Pintar Mencari Kerja" became BUKU PINTAR DAPAT KERJA GAJI TINGGI PINDAH KERJA GAJI SEMAKIN TINGGI
BUKU PINTAR DAPAT KERJA GAJI TINGGI PINDAH KERJA GAJI SEMAKIN TINGGI made by retyping the book BEST SELLER of the author, entitled “Buku Pintar Mencari Kerja”. This ebook available on google play.
In 2015, I had the idea of a startup company where the readers can decide for themselves the next story. WASN'T THIS A GREAT IDEA? IF can be realized WILL BE WORTH billions USD. Because CAN PRODUCE FOR MILLIONS OF DOLLARS even tens of millions USD annually.
In theory, in 10-20 years into the future, my startup income, amounting to hundreds of million USD annually can be obtained easily. AND IF FOLLOWED BY MANY COMPANIES IN THE WHOLE WORLD WILL THEN BE A NEW INDUSTRIAL worth trillions USD.
To be honest. Currently I'm not having a lot of money. So I start marketing my startup with blogspot.
My STARTUP :
A story with millions of choices in it - looking investor like you.
Try to imagine this. When you're reading a story on the web or blog, you are given two choices. You can choose the next story based on your own choice. After selecting then you can continue reading the story. Shortly afterwards you will be presented back to the 2 other options. The next choice is up to you. Then you continue the story you are reading. After that you will be faced again with 2 choices. So onwards. The more stories you read so the more options you have taken.
If you feel curious then you can re-read the story by changing your selection. Then you will see a different story with the story that you have read previously. The question now is why is this so? Because the storyline will be varying according to your choice.
I, as the author is planning to make tens of thousands of articles with millions of choices in it. With tens of thousands of articles then you like to see a show of your favorite series on TV for several years. The difference is while watching your favorite TV series, then you can not change the story. Meanwhile, if you read this story then you can alter the way the story according to your own choice.
You might say like this. Sounds like a book "choose your own adventure". Books I read when I was young.
Correctly. The idea is taken from there. But if you read through a book, the story is not so exciting. Due to the limited number of pages. When a child first you may already feel interesting. But if you re-read the book now then becomes no fun anymore because you don't get anything with the amount of 100-200 pages.
Have you ever heard of game books? When you were boy or girl, did you like reading game books? I think you've heard even happy to read it.
Gamebooks are sometimes informally called choose your own adventure books or CYOA which is also the name of the Choose Your Own Adventure series published byBantam Books. Gamebook - Wikipedia, the free encyclopedia
Gamebook - Wikipedia, the free encyclopedia
A gamebook is a work of fiction that allows the reader to participate in the story by making effective choices. The narrative branches along various paths through the use of numbered paragraphs or pages.
Bantam Books with the Choose Your Own Adventure
series has produced more than 250 million US
dollars. While I offer you more powerful than the Choose
Your Own Adventure. Because of what? Because the
story that I made much more interesting than the stories
created by the authors of Bantam Books. You will not get anything just to 100-200 pages. While the story that I created is made up of tens of thousands of articles with millions of choices in it.
For comparison are the books published with the theme "choose your own adventure" produces more than 250 million copies worldwide. If the average price of a book for 5 USD, the industry has produced more than 1.5 billion USD. But unfortunately this industry has been abandoned because the reader begins to feel bored. The last book was published entitled "The Gorillas of Uganda (prev." Search for the Mountain Gorillas ")". And this book was published in 2013.
Based on the above, then you are faced with two choices. Are you interested in reading my story is? Or you are not interested at all. The choice is in your hands.
If you are interested then spread widely disseminated this article to your family, friends, neighbors, and relatives. You can also distribute it on facebook, twitter, goggle +, or other social media that this article be viral in the world. By doing so it is a new entertainment industry has been created.
Its creator named Richard Nata.
The full articles that talks about this:
19. Start-up strategy in order to earn millions to tens of millions of dollars annually. http://richardnata.blogspot.com/2015/02/start-up-strategy-in-order-to-earn.html
20. Why do I need startup funds from investors? http://richardnata.blogspot.com/2015/05/why-do-i-need-startup-funds-from.html
21. slow but sure vs acceleration. http://richardnata.blogspot.com/2015/05/slow-but-sure-vs-acceleration.html
29. Start reading the story here. http://richardnata.blogspot.com/2015/05/start-reading-story-here.html
WHY DO I NEED STARTUP FUNDS FROM INVESTORS? I NEED A LOT OF FUNDS FROM INVESTORS BECAUSE I HAVE TO LOOKING FOR EXPERT PROGRAMMERS(IT).BECAUSE THE DATA IS HANDLED IS VERY LARGE, IT MAY HAVE TO WEAR SOME PROGRAMMERS(IT).
I CAN NOT WEAR SOME FREELANCE PROGRAMMER BECAUSE THE DATA MUST BE MONITORED CONTINUOUSLY FROM VIRUSES, MALWARE, SPAM, AND OTHERS.
IN ADDITION FUNDS FROM INVESTORS IS ALSO USED TO BUY SERVERS WITH VERY LARGE CAPACITY. FUNDS ARE ALSO USED TO PAY EMPLOYEE SALARIES AND OPERATIONAL COSTS OF THE COMPANY.
FUNDS CAN ALSO BE USED FOR ADVERTISING AND OTHER MARKETING STRATEGIES.FUNDS CAN ALSO BE USED TO ADVERTISE MY STARTUP AND OTHER MARKETING STRATEGIES.
IF I GET A VERY LARGE FUND, THE PART OF THE FUNDS USED TO TRANSLATE THE STORY INTO VARIOUS LANGUAGES.With more and more languages, the more readers we get.
WITH MORE AND MORE READERS, THE MORE REVENUE WE GET.
AS AN INVESTOR THEN YOU DO NOT HAVE TO FEEL ANXIOUS ABOUT YOUR FUNDS. BECAUSE YOUR FUNDS WILL NEVER BE LOST BECAUSE IN 3-5 YEARS YOU HAVE RETURNED THE FUNDS COUPLED WITH PROFIT.
THIS BUSINESS IS ONE AND THE ONLY ONE IN THE WORLD.
If we can make a good story, so that the readers will
come again and again for further reading the story then
our earnings will continue to grow and will never
diminish. This is due to new readers who continued to
arrive, while long remained loyal readers become our
customers.
So that the number of our readers will continue to
multiply over time. With the increasing number of loyal
readership then automatically the amount of income we
will also grow larger every year. The same thing
happened in yahoo, google, facebook, twitter, linkedin,
and others when they still startup.
Deuteronomy {28:13} And the LORD shall make thee the
head, and not the tail; and thou shalt be above only, and
thou shalt not be
beneath; if that thou hearken unto the commandments of the LORD thy God, which I command thee this day, to observe and to do [them: ]
Try to imagine this. If I give a very unique story. It was the first time in the world. But the world already know this story even liked it. Because the world love the game books. While the story that I made is the development of game books.
Do you Believe if I dare say if I will succeed because my story will be famous all over the world as Harry Potter?
I believe it. Not because I was the author of the story, but because of the story that I made is unique and the only one in the world.
Income from my startup :
1. Ads. With millions of unique visitors, the price of the ads will be expensive.
3. Contribution of the readers. If you have a million readers and every reader to pay one US dollar per year then you will get the income of one million US dollars per year.
If you have a million readers and every reader to pay one US dollar per month then you will get as much revenue twelve million US dollars per year.
4. Books and Comics. After getting hundreds of thousands to the millions of readers of the story will be made in books and the form of a picture story (comics).
6. Merchandise related to characters. After the movies there will be made an offer for the sale of goods related to the characters.
7. Sales. With millions of email that we have collected from our readers so we can sell anything to them.
Each income (1-7) worth millions to tens of millions of US dollars.
Because each income (1-7) worth millions to tens of millions of US dollars. Then in 10-20 years into the future, AI will be earning hundreds of million USD annually.
So how long do you think my story that I made could gather a thousand readers? Ten thousand readers? One hundred thousand readers? A million readers? Five million readers? Ten million readers? More than ten million readers?
But to get all of it of course takes time, can not be instant. In addition, it takes hard work, big funds and placement of the right people in the right positions.
By advertising, viral marketing, strong marketing strategies and SEO then a million readers can be done in less than a year. Ten million readers can be done in two to three years.
This is the marketing strategy of my startup.
When hundreds of thousands or millions of readers already liked my story then they have to pay to enjoy the story that I made.
If you are a visionary then you will think like this.
With the help of my great name in the world of business, my expertise in marketing, advertising, marketing by mouth, viral marketing, then collecting a million readers to ten million readers will be easy to obtain. Is not that right?
The question now is what if people like my story as they like Harry Potter? You will get tens of millions or even hundreds of millions of email addresses from readers. With that much email, we can sell anything to the readers.
Since April 2013, Wikipedia has around 26 million articles in 285 languages are written by 39 million registered users and a variety of anonymous people who are not known from other parts of the world. Web ranked by Alexa, Wikipedia is a famous website number 6 which has been visited by 12% of all Internet users with 80 million visitors every month and it is only from the calculation of America.
resource : http://www.tahupedia.com/content/show/136/Sejarah-dan-Asal-Mula-Wikipedia
If no Wikipedia then need hundreds of thousands to millions of books required to make 26 million articles in 285 languages into books.
With the Wikipedia then people started to leave to read a book or books to seek knowledge about a subject or many subjects.
The same thing will happen. Read a story in a book or books to be abandoned. Read a story with millions of choices on the web or blog is far more interesting than reading a book or books.
So what happens next? In 10-20 years ahead then read a story in a book to be abandoned. Otherwise my startup will grow and continue to develop into a new entertainment industry.
New entertainment industry, where I was a forerunner startup will continue to evolve.
Therefore, in 10-20 years into the future, my startup will be earning hundreds of million USD annually.
So do not delay. Invest your money immediately to my startup. Take A Look. There are so many advantages if you want to invest in my startup.
WHY YOU SHOULD INVEST YOUR MONEY RIGHT NOW? .
IF YOU INVEST YOUR FUNDS IN ONE, TWO OR THREE YEARS INTO THE FUTURE, YOU MAY BE TOO LATE.
BECAUSE IN 1-3 YEARS INTO THE FUTURE THEN I'VE GOT THE FUNDS. THE FUNDS CAN COME FROM SOME INVESTORS, LOANS FROM BANKS OR FROM ADVERTISEMENTS POSTED ON MY BLOG.
IF I'VE GOT A LARGE AMOUNT OF FUNDS THEN I'VE NO NEED OF YOUR FUNDS. SO INVEST NOW OR NOT AT ALL.
My BLOG started to be written January 11, 2015. TODAY, MAY 30, 2015, THE NUMBER OF CLICKS HAS REACHED 56,750. SO FAR SO GOOD.
If I get big funds from investors then with a quick story that I wrote will spread throughout the world.
So I got acceleration because I can put ads in a large variety of media such as Google AdWords, Facebook, and others. I also can perform a variety of other marketing strategies.
If I do not get funding from investors then my story would still spread throughout the world. But with a longer time, Slow but sure.
So either I get funding from investors or not, the story that I wrote will remain spread throughout the world. Ha ... 7x
So don't worry, be happy.
My advice to you is you should think whether the data that I have provided to you makes sense or not .
If my data reasonable then immediately invest your funds as soon as possible.
Then we discuss how we plan further cooperation.
Thank you.
P.S. The offer letter I gave also to the hedge funds and
venture capital and other major companies
in the entire
world. So who is fast then he will get it.
P.P.S. In addition, there is one more thing I
want to tell you. If a story can generate tens
of millions of US dollars, then what if made
many stories? Then why do not you make 2, 3 or many stories? You will get hundreds of million USD annually.
Try to imagine this. When you're reading a story on the web or blog, you are given two choices. You can choose the next story based on your own choice. After selecting then you can continue reading the story. Shortly afterwards you will be presented back to the 2 other options. The next choice is up to you. Then you continue the story you are reading. After that you will be faced again with 2 choices. So onwards. The more stories you read so the more options you have taken.
If you feel curious then you can re-read the story by changing your selection. Then you will see a different story with the story that you have read previously. The question now is why is this so? Because the storyline will be varying according to your choice.
You might say like this. Sounds like a book "choose your own adventure". Books I read when I was young.
Correctly. The idea is taken from there. But if you read through a book, the story is not so exciting. Due to the limited number of pages. When a child first you may already feel interesting. But if you re-read the book now then becomes no fun anymore because you don't get anything with the amount of 100-200 pages.
Correctly. The idea is taken from there. But if you read through a book, the story is not so exciting. Due to the limited number of pages. When a child first you may already feel interesting. But if you re-read the book now then becomes no fun anymore because you don't get anything with the amount of 100-200 pages.
Have you ever heard of game books? When you were boy or girl, did you like reading game books? I think you've heard even happy to read it.
Gamebooks are sometimes informally called choose your own adventure books or CYOA which is also the name of the Choose Your Own Adventure series published byBantam Books. Gamebook - Wikipedia, the free encyclopedia
Gamebook - Wikipedia, the free encyclopedia
A gamebook is a work of fiction that allows the reader to participate in the story by making effective choices. The narrative branches along various paths through the use of numbered paragraphs or pages.
| ||||||
Bantam Books with the Choose Your Own Adventure
series has produced more than 250 million US
dollars. While I offer you more powerful than the Choose
Your Own Adventure. Because of what? Because the
story that I made much more interesting than the stories
created by the authors of Bantam Books. You will not get anything just to 100-200 pages. While the story that I created is made up of tens of thousands of articles with millions of choices in it.
series has produced more than 250 million US
dollars. While I offer you more powerful than the Choose
Your Own Adventure. Because of what? Because the
story that I made much more interesting than the stories
created by the authors of Bantam Books. You will not get anything just to 100-200 pages. While the story that I created is made up of tens of thousands of articles with millions of choices in it.
For comparison are the books published with the theme "choose your own adventure" produces more than 250 million copies worldwide. If the average price of a book for 5 USD, the industry has produced more than 1.5 billion USD. But unfortunately this industry has been abandoned because the reader begins to feel bored. The last book was published entitled "The Gorillas of Uganda (prev." Search for the Mountain Gorillas ")". And this book was published in 2013.
Based on the above, then you are faced with two choices. Are you interested in reading my story is? Or you are not interested at all. The choice is in your hands.
If you are interested then spread widely disseminated this article to your family, friends, neighbors, and relatives. You can also distribute it on facebook, twitter, goggle +, or other social media that this article be viral in the world. By doing so it is a new entertainment industry has been created.
Its creator named Richard Nata.
The full articles that talks about this:
19. Start-up strategy in order to earn millions to tens of millions of dollars annually. http://richardnata.blogspot.com/2015/02/start-up-strategy-in-order-to-earn.html
20. Why do I need startup funds from investors? http://richardnata.blogspot.com/2015/05/why-do-i-need-startup-funds-from.html
21. slow but sure vs acceleration. http://richardnata.blogspot.com/2015/05/slow-but-sure-vs-acceleration.html
20. Why do I need startup funds from investors? http://richardnata.blogspot.com/2015/05/why-do-i-need-startup-funds-from.html
21. slow but sure vs acceleration. http://richardnata.blogspot.com/2015/05/slow-but-sure-vs-acceleration.html
WHY DO I NEED STARTUP FUNDS FROM INVESTORS? I NEED A LOT OF FUNDS FROM INVESTORS BECAUSE I HAVE TO LOOKING FOR EXPERT PROGRAMMERS(IT).BECAUSE THE DATA IS HANDLED IS VERY LARGE, IT MAY HAVE TO WEAR SOME PROGRAMMERS(IT).
I CAN NOT WEAR SOME FREELANCE PROGRAMMER BECAUSE THE DATA MUST BE MONITORED CONTINUOUSLY FROM VIRUSES, MALWARE, SPAM, AND OTHERS.
IN ADDITION FUNDS FROM INVESTORS IS ALSO USED TO BUY SERVERS WITH VERY LARGE CAPACITY. FUNDS ARE ALSO USED TO PAY EMPLOYEE SALARIES AND OPERATIONAL COSTS OF THE COMPANY.
I CAN NOT WEAR SOME FREELANCE PROGRAMMER BECAUSE THE DATA MUST BE MONITORED CONTINUOUSLY FROM VIRUSES, MALWARE, SPAM, AND OTHERS.
IN ADDITION FUNDS FROM INVESTORS IS ALSO USED TO BUY SERVERS WITH VERY LARGE CAPACITY. FUNDS ARE ALSO USED TO PAY EMPLOYEE SALARIES AND OPERATIONAL COSTS OF THE COMPANY.
FUNDS CAN ALSO BE USED FOR ADVERTISING AND OTHER MARKETING STRATEGIES.FUNDS CAN ALSO BE USED TO ADVERTISE MY STARTUP AND OTHER MARKETING STRATEGIES.
IF I GET A VERY LARGE FUND, THE PART OF THE FUNDS USED TO TRANSLATE THE STORY INTO VARIOUS LANGUAGES.With more and more languages, the more readers we get.
WITH MORE AND MORE READERS, THE MORE REVENUE WE GET.
AS AN INVESTOR THEN YOU DO NOT HAVE TO FEEL ANXIOUS ABOUT YOUR FUNDS. BECAUSE YOUR FUNDS WILL NEVER BE LOST BECAUSE IN 3-5 YEARS YOU HAVE RETURNED THE FUNDS COUPLED WITH PROFIT.
THIS BUSINESS IS ONE AND THE ONLY ONE IN THE WORLD.
If we can make a good story, so that the readers will
come again and again for further reading the story then
our earnings will continue to grow and will never
diminish. This is due to new readers who continued to
arrive, while long remained loyal readers become our
customers.
come again and again for further reading the story then
our earnings will continue to grow and will never
diminish. This is due to new readers who continued to
arrive, while long remained loyal readers become our
customers.
So that the number of our readers will continue to
multiply over time. With the increasing number of loyal
readership then automatically the amount of income we
will also grow larger every year. The same thing
happened in yahoo, google, facebook, twitter, linkedin,
and others when they still startup.
multiply over time. With the increasing number of loyal
readership then automatically the amount of income we
will also grow larger every year. The same thing
happened in yahoo, google, facebook, twitter, linkedin,
and others when they still startup.
Deuteronomy {28:13} And the LORD shall make thee the
head, and not the tail; and thou shalt be above only, and
thou shalt not be
beneath; if that thou hearken unto the commandments of the LORD thy God, which I command thee this day, to observe and to do [them: ]
head, and not the tail; and thou shalt be above only, and
thou shalt not be
beneath; if that thou hearken unto the commandments of the LORD thy God, which I command thee this day, to observe and to do [them: ]
Try to imagine this. If I give a very unique story. It was the first time in the world. But the world already know this story even liked it. Because the world love the game books. While the story that I made is the development of game books.
Do you Believe if I dare say if I will succeed because my story will be famous all over the world as Harry Potter?
I believe it. Not because I was the author of the story, but because of the story that I made is unique and the only one in the world.
Income from my startup :
1. Ads. With millions of unique visitors, the price of the ads will be expensive.
3. Contribution of the readers. If you have a million readers and every reader to pay one US dollar per year then you will get the income of one million US dollars per year.
If you have a million readers and every reader to pay one US dollar per month then you will get as much revenue twelve million US dollars per year.
4. Books and Comics. After getting hundreds of thousands to the millions of readers of the story will be made in books and the form of a picture story (comics).
6. Merchandise related to characters. After the movies there will be made an offer for the sale of goods related to the characters.
7. Sales. With millions of email that we have collected from our readers so we can sell anything to them.
Each income (1-7) worth millions to tens of millions of US dollars.
Because each income (1-7) worth millions to tens of millions of US dollars. Then in 10-20 years into the future, AI will be earning hundreds of million USD annually.
So how long do you think my story that I made could gather a thousand readers? Ten thousand readers? One hundred thousand readers? A million readers? Five million readers? Ten million readers? More than ten million readers?
But to get all of it of course takes time, can not be instant. In addition, it takes hard work, big funds and placement of the right people in the right positions.
By advertising, viral marketing, strong marketing strategies and SEO then a million readers can be done in less than a year. Ten million readers can be done in two to three years.
This is the marketing strategy of my startup.
When hundreds of thousands or millions of readers already liked my story then they have to pay to enjoy the story that I made.
If you are a visionary then you will think like this.
With the help of my great name in the world of business, my expertise in marketing, advertising, marketing by mouth, viral marketing, then collecting a million readers to ten million readers will be easy to obtain. Is not that right?
The question now is what if people like my story as they like Harry Potter? You will get tens of millions or even hundreds of millions of email addresses from readers. With that much email, we can sell anything to the readers.
Since April 2013, Wikipedia has around 26 million articles in 285 languages are written by 39 million registered users and a variety of anonymous people who are not known from other parts of the world. Web ranked by Alexa, Wikipedia is a famous website number 6 which has been visited by 12% of all Internet users with 80 million visitors every month and it is only from the calculation of America.
resource : http://www.tahupedia.com/content/show/136/Sejarah-dan-Asal-Mula-Wikipedia
If no Wikipedia then need hundreds of thousands to millions of books required to make 26 million articles in 285 languages into books.
With the Wikipedia then people started to leave to read a book or books to seek knowledge about a subject or many subjects.
The same thing will happen. Read a story in a book or books to be abandoned. Read a story with millions of choices on the web or blog is far more interesting than reading a book or books.
So what happens next? In 10-20 years ahead then read a story in a book to be abandoned. Otherwise my startup will grow and continue to develop into a new entertainment industry.
New entertainment industry, where I was a forerunner startup will continue to evolve.
Therefore, in 10-20 years into the future, my startup will be earning hundreds of million USD annually.
So do not delay. Invest your money immediately to my startup. Take A Look. There are so many advantages if you want to invest in my startup.
WHY YOU SHOULD INVEST YOUR MONEY RIGHT NOW? .
IF YOU INVEST YOUR FUNDS IN ONE, TWO OR THREE YEARS INTO THE FUTURE, YOU MAY BE TOO LATE.
BECAUSE IN 1-3 YEARS INTO THE FUTURE THEN I'VE GOT THE FUNDS. THE FUNDS CAN COME FROM SOME INVESTORS, LOANS FROM BANKS OR FROM ADVERTISEMENTS POSTED ON MY BLOG.
IF I'VE GOT A LARGE AMOUNT OF FUNDS THEN I'VE NO NEED OF YOUR FUNDS. SO INVEST NOW OR NOT AT ALL.
BECAUSE IN 1-3 YEARS INTO THE FUTURE THEN I'VE GOT THE FUNDS. THE FUNDS CAN COME FROM SOME INVESTORS, LOANS FROM BANKS OR FROM ADVERTISEMENTS POSTED ON MY BLOG.
IF I'VE GOT A LARGE AMOUNT OF FUNDS THEN I'VE NO NEED OF YOUR FUNDS. SO INVEST NOW OR NOT AT ALL.
My BLOG started to be written January 11, 2015. TODAY, MAY 30, 2015, THE NUMBER OF CLICKS HAS REACHED 56,750. SO FAR SO GOOD.
If I get big funds from investors then with a quick story that I wrote will spread throughout the world.
So I got acceleration because I can put ads in a large variety of media such as Google AdWords, Facebook, and others. I also can perform a variety of other marketing strategies.
So I got acceleration because I can put ads in a large variety of media such as Google AdWords, Facebook, and others. I also can perform a variety of other marketing strategies.
If I do not get funding from investors then my story would still spread throughout the world. But with a longer time, Slow but sure.
So either I get funding from investors or not, the story that I wrote will remain spread throughout the world. Ha ... 7x
So don't worry, be happy.
So either I get funding from investors or not, the story that I wrote will remain spread throughout the world. Ha ... 7x
So don't worry, be happy.
My advice to you is you should think whether the data that I have provided to you makes sense or not .
If my data reasonable then immediately invest your funds as soon as possible.
Then we discuss how we plan further cooperation.
Thank you.
P.S. The offer letter I gave also to the hedge funds and
venture capital and other major companies
in the entire
world. So who is fast then he will get it.
venture capital and other major companies
in the entire
world. So who is fast then he will get it.
P.P.S. In addition, there is one more thing I
want to tell you. If a story can generate tens
of millions of US dollars, then what if made
many stories? Then why do not you make 2, 3 or many stories? You will get hundreds of million USD annually.
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