What to Do When You Realize Your Published Book Still Has Some Mistakes

By Team Azuni

Publishing a book is a momentous achievement for any writer. It involves countless hours of dedication, creativity, and hard work. However, despite the meticulous editing process, it’s not uncommon for a few mistakes to slip through the cracks and find their way into the final published version. Discovering these errors can be disheartening, but it’s essential to remember that you are not alone in this predicament. Many successful authors have faced similar challenges. So, if you find yourself in a situation where you realize your published book still has some mistakes, here are some steps you can take to address and rectify the issue.

Acknowledge Your Emotions

Finding mistakes in your published book can evoke a range of emotions, such as disappointment, frustration, or even embarrassment. It’s crucial to acknowledge and process these emotions. Remember that mistakes happen to even the most experienced authors. Take a deep breath, and remind yourself that you can address the situation.

Assess the Extent of the Mistakes

Once you’ve gathered yourself emotionally, take the time to assess the extent and nature of the mistakes. Are they minor typos, grammatical errors, or formatting issues? Or do they significantly impact the overall content or narrative? Understanding the scale of the problem will help you determine the necessary actions to take.

Communicate with Your Publisher

Reach out to your publisher as soon as possible to inform them about the mistakes you’ve discovered. Explain the specific issues you’ve identified and provide any relevant examples. Most publishers understand that mistakes can occur and may be willing to work with you to find a solution. Open communication is key to addressing the problem effectively.

Offer a Corrected Version

Depending on the severity of the mistakes, discuss with your publisher the possibility of providing a corrected version of the book. This could involve releasing a new edition, updating digital copies, or offering a correction document for readers. Consult with your publisher on the best action to rectify the errors and ensure readers have access to the correct information.

Engage with Your Readers

While it can be challenging to face your readers after discovering mistakes in your book, it’s crucial to engage with them openly and honestly. Use your author platforms, such as social media, your website, or email newsletters, to address the issue directly. Inform your readers about the discovered errors, the steps you are taking to correct them, and any apologies or explanations you may wish to provide. Honesty and transparency will help maintain trust and demonstrate your commitment to delivering a quality reading experience.

Update Digital Formats

In today’s digital age, it’s common for books to be available in various electronic formats. If your book is available in e-book or audiobook formats, contact the respective distributors or platforms to update the digital copies with the corrected version. This will ensure that future readers have access to the most accurate version of your work.

Learn from the Experience

While discovering mistakes in your published book can be disheartening, it is also an opportunity for growth and learning. Take this experience as a lesson for future publications. Reflect on what went wrong and what steps you can take in the future to minimize the chances of similar errors occurring. Consider seeking additional editing or proofreading assistance, or implementing a more rigorous review process.

Consider a Reprint

If the mistakes in your book significantly impact its readability or comprehension, and if your publisher agrees, you may consider a reprint. This option is more viable for traditionally published authors, as self-published authors might incur additional expenses. A reprint allows you to fix the errors and ensure that future copies of your book are error-free.

Move Forward

Once you have taken the necessary steps to address the mistakes in your published book, it’s time to move forward. Remember that mistakes do not define you as an author. Focus on continuing to write and improve your craft. Use the experience to fuel your motivation and dedication, knowing that you have learned from it and will strive for excellence in your future work.

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How to Write a Killer Book Title

By Team Azuni

Your book title is one of the most important marketing tools you have. It’s the first thing potential readers will see, and it’s what will make them decide whether or not to pick up your book. That’s why it’s so important to get it right.

A killer book title is one that is:

  • Attention-grabbing. It should make people stop and take notice.
  • Memorable. It should stick in people’s minds long after they’ve seen it.
  • Relevant to the book’s content. It should give readers a good idea of what the book is about.

Here are a few tips for writing a killer book title:

  • Use strong verbs. Verbs are action words, and they can help to create a sense of excitement and energy in your title.
  • Be specific. Don’t be afraid to get specific about what your book is about. The more specific your title is, the more likely it is to appeal to potential readers.
  • Use numbers. Numbers can be a great way to add interest and intrigue to your title.
  • Ask a question. Asking a question can help to create a sense of curiosity and intrigue in your title.
  • Create a sense of urgency. Use words like “now,” “quick,” or “limited time only” to create a sense of urgency in your title.
  • Use humor. A funny title can help to make your book stand out from the crowd.
  • Be creative. Don’t be afraid to get creative with your title. The more unique your title is, the more likely it is to get noticed.

Here are a few examples of killer book titles:

  • The 7 Habits of Highly Effective People by Stephen R. Covey
  • Eat Pray Love by Elizabeth Gilbert
  • The Da Vinci Code by Dan Brown
  • The Girl with the Dragon Tattoo by Stieg Larsson
  • The Hunger Games by Suzanne Collins
  • To Kill a Mockingbird by Harper Lee
  • Gone Girl by Gillian Flynn
  • The Martian by Andy Weir
  • The Girl on the Train by Paula Hawkins
  • The Help by Kathryn Stockett

These are just a few examples of killer book titles. By following the tips above, you can write a title that will help you sell more books.

Here are some additional tips for writing effective book titles:

  • Test your titles on others. Ask friends, family, and beta readers for their feedback on your titles. Get their honest opinion on which titles they like the best and why.
  • Avoid clichés. Clichéd titles are often boring and forgettable. Try to come up with something original that will stand out from the crowd.
  • Don’t be afraid to experiment. There are no hard and fast rules when it comes to writing book titles. Experiment with different styles and see what works best for you.

With a little effort, you can write a killer book title that will help you sell more books and reach a wider audience.

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Blood in the Thread

By Cheri Kamei

Nothing tears two women apart like the men who want and take indiscriminately. In this retelling of “The Crane Wife”, a makeup artist and her actress lover struggle to stay together as the glitz and glamour of old Hollywood transforms into a cruel and manipulative beast that threatens to pluck them apart.

Content warning: This story contains fictional depictions of domestic violence.

“Today,” she says, “we are women who are actually cranes.” Her hair is loose and her face is bare. Off to the side, her wedding dress lies strewn across an entire hotel room bed, train trickling down, a stream of white silk shot through with crimson ribbon. “Do you remember?” she asks.

You remember. You hated that story when you were younger: the molting feathers, the discovery, the betrayal, the abrupt, unsatisfactory conclusion.

“Hey,” she says. The engagement band on her delicate finger gleams in the light. “It’s only a story. And today we are cranes because I say we are beautiful, beautiful cranes.” She tips your chin and her kiss is a resolution, not a promise. You shouldn’t have agreed to see her before the nuptials, but she asked, and you can never say no.

“Okay,” you say. You unpack your bag, lay out the tools of your trade, the colors and powders and stains. While her face is still naked and true, you reach out, cup her cheek, whisper, “Marry me.” You will never tire of saying it.

Everything from the fading stars to the hotel Bible holds its breath. She beams. She breaks into helpless laughter. She gestures at the wedding gown and presses your hands to her tired face.

You nod and pull yourself together, stretch her arm out toward you, and begin to dream of wings.

Once upon a time, there lived a man who found a wounded crane upon his doorstep. Deep in the bird’s breast lay a fletched arrow. A slick spill of blood stained her feathers a furious shade of red, the exact shade of a poppy gone to rot. The man pressed his hands to the wound and, beneath the squelch and gore, he felt a heart that still fought, pounding back against his palm. He had no obligation to the crane, but its beauty, its tragic majesty, moved him. “I will care for you,” he told the crane. “I promise, I promise, I promise.”

It has always been the two of you, ever since you were both jam-handed and pulling the fat, flowered heads of roses off of the bushes in your front yard. You do everything together and never question it. In high school, when she stars as the lead in a few musicals, you attend every show. You fill sketchbooks and canvases with your waking dream: the same girl aging in real time, standing, singing, smiling, in repose; yours, kept pressed between the pages. When junior prom comes around, you get ready together in her bedroom, zipping up dresses, surrounded by tubes of lip gloss and a rainbow of eye tints. The night is perfect and she looks so lovely. She closes her eyes and tilts her head for the touch of a blending brush, and so you kiss her.

It is no surprise, then, that you follow her into the city for the auditions and part-time jobs, the two-bedroom shit apartment you share with one bed made up for show and the other rumpled from two bodies curled close. By day, you attend beauty school and ache with her absence. By night, you dream of the lives you could have together, all the scripts and wardrobe decisions, together, entangled. “Marry me,” you practice whispering as she sleeps. Anything feels possible with her body warm next to yours.

Neither of you feel the world shift the day she books a job, a shoot in the same city where you tear ticket stubs and buy your groceries and make love and exist. You do her makeup for her, at her insistence; for good luck, she says. She leaves in the morning and comes home at night and so you go on. Absolutely nothing changes until everything does.

The movie premieres. Her face is in subways tunnels and on billboards, lovely and large as the moon.

Suddenly everyone wants to stake their claim.

The night before her first televised interview, she sits in bed, breathing into a paper bag. She clings to you and you hold her together with your own two hands. “Come with me,” she insists. “Tomorrow. We’ll tell everyone that only you can do my makeup. It can’t be anyone else. Please.”

It’s how you end up backstage in a small dressing room, murmuring encouragement as you stain her eyelids purple and gold. Turning her face this way and that, you lift the apple of her cheeks with a blush soft as plum blossoms. You rouge her lips into a pink slick as a sliced peach. You hide away the little girl who used to scribble on sheet music and eat too many jam sandwiches and give her a mask to hide behind instead. When you watch her smiling and chatting nervously on the television monitor later, you know you are the only one who can peek behind this version of her. Only you have held her face between two hands and seen the truth of her, brilliant and terrified and beautiful. You think, I am going to marry that woman.

And then her costar walks out to thunderous applause. As he answers questions, he keeps touching her forearm, resting his hand on her thigh. Only you seem to be able to see the way her smile goes rigid. As they depart, he draws her close. She disappears into his embrace, cut from sight like a bird shot from the sky.

There is no question, then: The man takes the injured crane into his home and tends to it with great patience and care. The crane seems to understand his intent, and so allows the touch of his rough hands, the stink of wood smoke and musk that stings. She bears it as best she can. Eventually, she recovers.

There is no question, then: The man must release her. He has no use for a crane, no matter how beautiful. He takes her out of the woods. The sky stretches out. The crane flies far.

            But that is not where this tale ends.

The very next evening, a woman appears at the man’s door, beautiful and majestic. She gives no indication that she is a changeling, once a crane. And what reason would the man have to believe in such magic? No version of the story will say.

In any case, it is always the same: The man falls in love.

            (Does the woman?)

            In any case, they marry.

“I don’t understand,” she says. Her manager has called her in for a discussion. They want photos and flirting and more, playing things up to build buzz for the film. The handsome lead and the beautiful ingénue: It is a story that writes itself.

She looks to you for an answer. You will not be the one to hold her back. You tell her, “I have an idea. Trust me.”

You get out your growing sprawl of cosmetics. For her first awards show, you send her out covered in shimmering camellias and barbed butterflies that spiral down her bare arms, fading into the faint lines of her blue, blue veins. You saturate those delicate petals and wings with all the venom in your heart. You line her eyes sharp as spears. You leave a giant golden flower, bulbous with poison, where her costar is most apt to smack wet kisses. If you cannot show that she is yours and you are hers, then you can at least make them all realize that their touches will be rebuffed, profane and unworthy.

He doesn’t lay a hand on her. (Not that night.)

From then on you give her everything in you: labyrinthine shapes like magic runes, drawn in neon for a fashion show; poetry that curls around the shells of her ear, creeping down her exposed neck, wrapping like a gauntlet round her elbow; a splash of cherry blossoms connected by branches that become swollen stitches, lines becoming giant centipedes, white and delicate as lace, curling protectively around her jaw, for a dinner out she cannot avoid.

You shield her from what you can, but her face is in every magazine and newspaper, and her costar is right there with her. You follow her dutifully and remind yourself that this was your dream. (Somewhere between the shifting planes of each transformation, you buy a ring, deep gold, diamonds and devotion.) But people can only reach out for so long and the barricades you build together stretch only so high. Their touches begin to land, and there is only flesh beneath the fantasies you sear into her skin.

The first time it happens, you are waiting to prep her for some industry event. She comes home and won’t look you in the eye. She is already crying and you don’t understand until she removes her coat and you see the ring of bruises around her biceps. “Don’t be mad.”

“Who did this?” you ask her—can’t look at it, start to reach out, think better of it.

“I told them I didn’t want to do it anymore.” She shakes her head. “They’re going to ruin everything if I tell. The things they said . . .”

Read more https://www.tor.com/2021/05/12/blood-in-the-thread-cheri-kamei/

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Writing a Book? 7 Killer Research Tips

Chandler Bolt is the host of the Self Publishing School podcast & the author of 6 bestselling books including his most recent book titled “Published.”. He’s also the founder & CEO of Self-Publishing School, the #1 online resource for writing your first book. Self Publishing School made the INC 5000 in 2018 (#2,699) as one of the 5,000 fastest-growing private companies in the US. Through his books, podcast, training videos, and Self-Publishing School, he’s helped thousands of people on their journey to writing their first book.

Researching for a book, while super important in the process of publishing a book, is difficult and if you’re not careful, it can stop you from finishing at all.

“Pencils down.”

The phrase that strikes fear into the hearts of students.

What if you didn’t write enough? What if all the answers are wrong? Too bad; you’re stuck with your final essay. There’s no going back.

There’s something about the finality of closing the door on any knowledge work that’s tough. We don’t want to miss anything—whether it’s a witty quote or that perfect case study. The same with writing books—ending your research and starting your draft is daunting.

It’s possible to go on researching forever, really. Countless book ideas remain unwritten and unpublished because the writer is just looking for that perfect piece of research. But with that attitude, you’ll never publish your book!

We’re not asking you to abandon the research process. Virtually all non-fiction work and most fiction works require at least some research to complete a final draft, but it does require moderation.

This post is split into two parts. First, we’ll show you how to carry out a comprehensive research process in as little time as possible, then we’ll show you how to fine-tune your research once you begin drafting your book.

The Research Process

Many writers fail to publish or even begin drafting their books because they’re stuck in the research process. Here we’ll show you three critical steps you can take to make your research as thorough as possible, and to avoid the trap that many writers fall into–researching their books forever.

#1 – Plan Your Research

Research is a necessary part of writing, and with some genres (e.g. historical fiction), it’s impossible to start without research. However, before you pick a single book or open a new tab in the name of research, there is something you have to do: Plan your research.

In academia, there’s an entire subject called research design, which teaches researchers how to choose their research methods, scope out their timeline and outline their research process. Professional researchers have to plan out their research before they carry out any research. Not only does this tick the check boxes for funding, but it also helps them stay on track and ensure their research project is valid.

Notice what they don’t do. 

A researcher doesn’t just blindly pick up a book and follow where their gut tells them (though this does make up part of the process) or start experimenting and follow what’s interesting. First, they plan, set a specific end date, and then execute.

Instead of approaching your book research in an ad-hoc manner, putting in research time when you feel it’s warranted, we advise that you design your research process.

We’re not asking you to leave no room for spontaneity, often the best ideas come from the most unlikely of sources, but there should still be some structure to your research so, you don’t waste any of your precious time.

Remember many writers have still not begun their manuscript years after they started working on their book because they’re “still researching.”

You want to avoid this trap.

This means you should set a clear end date for your research process, where you promise you’ll start drafting no matter how little, how much, or what kind of data you’ve gathered. It also means that before you start, you think about where you’ll gather your research from, and how much you’ll gather.

As interesting as a side tangent can be, you don’t want to wander too far. Keep your research focused on the subject matter. If something seems interesting, note it down for the future. Maybe it could be your next book.

#2 – Outsource Your Research When Possible

Often, writing feels like a solitary endeavor, after all, it is just you and yourself staring at a screen, tapping away at a keyboard for hours on end. But just because it feels like a lonely mission, doesn’t mean it has to be one. Especially in research.

No matter your subject, there’s an almost certain chance that someone else has done the heavy lifting for you.

Someone who has immersed themselves in the field, found the dead ends, the wrong turns and the secret passageways. So why not tap into their knowledge?

When thinking of where to begin your research, tap into the human capital available before books or the internet. Are there any professors at your local college you can ask? Any editors in your domain that you can first reach out to? A great place to find names are the references used in journal articles or the authors of literature reviews and book reviews.

By asking them for help you can save yourself miles of wasted research, get an expert’s perspective on the topic (differentiating yourself from many other self-published books), and save yourself time.

Often, as long as they don’t have a demanding schedule, they’ll be happy to respond to an email or two.

Don’t forget to remember them in your acknowledgements!

3 – Ignore Your Inner Perfectionist

There’s a chance that if you’ve always wanted to write a book, you’ve got a perfectionist streak. And when it comes to book research, you’ll want to keep it under control.

You want to be a laser beam in your research. Focus on the best books for the keywords you’ve identified and don’t get sidetracked. Practical research is the key–find facts and data that will make your book more interesting, not analysis that you find interesting.

It might not necessarily be the same thing.

This also comes in when you’re writing your book. Ignore the temptation to include all the research found in your book. Often 20% of your research efforts will form 80% of your book.

If you found some piece of research you’re just dying to get out there, maybe package and release it as a bonus eBook for the thorough minded amongst your audience (and build your email list,) or have it in the appendix of your kindle edition.

7 Killer Tips on Researching Your Book 

Now that you know the critical steps to carry out your book research, it’s time to look at ways to improve it. Some of these will save you time during the research process, others will help you to finish your manuscript as fast as possible, and yet give you that sense of completeness and thoroughness once it’s done.

#1 – “Backload” Research

There’s a secret to mastering the craft of research when writing your book that might strike you as controversial:

Write first, fact-find second. 

You may think that’s odd, but first hear us out. Consider this scenario: You’re working on your draft and you hit a spot where you feel stuck. You don’t know the answer to a question that arises in your manuscript, so you switch over to Google and start poking around for the answer.

Soon you find yourself wandering around the internet as if you came into a room to find something, but you can’t for the life of you remember what it was.

And here is where you find yourself at the end of your writing time–watching cat videos– and you don’t even like cats.

The problem with researching while you’re writing is that you squash your momentum. Your draft will take longer to finish and it will be harder to write if you need to jump out of your writing mindset to switch over to research.

The solution: Don’t research at all once you’ve started writing until your rough draft is finished.

#2 – “TK” is Your Friend

Here’s an editorial trick:

When you hit an impasse in your draft and you’re tempted to look something up, whether that’s a quote, a proper name, or details about a location, mark that TBD spot with the letters “TK.

TK annotates a spot in your draft to return to when it’s time to research.

Then keep writing!

Why the letters “TK”? There are no words in the English language that have the letters “TK” next to each other, making it easy for you to use the Control+F command to find your TBD spot later on.

By setting aside your research for later, you can keep moving on your draft and fill in the small details later.

This prevents you from taking up all your time with research and avoiding writing. 

#3 – Turn off the Internet

Turn off the Internet while you’re writingMadness, you say? Well, why do you need the Internet? You’re going to do your research when you’re done writing, so the Internet is just distracting you. Write now. Google later.

Some pro writers say they like to take their laptop to a locale with no Wi-Fi so there’s zero temptation. Try an Internet desert for a day or two and see if it improves your writing pace. 

#4 – Keep it Organized

When you find a key piece of research, file it so you can track it down later. Whether you do this with a virtual folder on your laptop, an actual folder in your desk, or with a tool like Evernote or Scrivener, the idea is the same.

You need to compile all your resources together in one place so you can find it later.

Organization now will make adding research to your manuscript later easier and quicker. When your draft is done, you can put your hands on your resources right away.

#5 – Red Text Marks the Spot

If you’re humming along in your draft and hit the crossroads of a quote or stat, switch your text color to red to highlight that you need to come back. Red text marks the spot that needs later attention and you can keep drafting.

Of course, if you used the “TK” tip above you don’t need this step, because then you can just use Control+F to find where you placed “TK” in your draft.

However, the red text will give you a visual STOP so you know this is an area that needs more research just by looking at it. Call it extra insurance so you don’t miss anything.

#6 – Hired Guns

There’s no shame in outsourcing the manual work of research. For the most cost-effective resource, consider a college intern. When looking for interns, make sure they have a background in your field. If your book is about demographic trends then look for qualitative researchers, perhaps someone with a major in the social sciences.

If, however, you need to do some number crunching then look for some more quantitative oriented interns.

Or, if you need to hire a pro, look to Upwork to find a good researcher—be sure to check ratings and consider giving applicants a short test to make sure they’re up for the task.

#7 – Add it All In

Batching your work is a trick of the productive. By segmenting what you need to get done, you maintain focus without the need to switch from unrelated task to unrelated task. When your first draft is finished, return to the designated areas that required research, which you marked with “TK” or red text. Fill in these gaps and add in all your research at once.

Researching a book can be tricky, and you definitely don’t want it to derail your progress. With these steps, we make it easy.

source: https://self-publishingschool.com

Recommended reads today https://www.amazon.co.uk/shop/urconqueror

Reasons to Get Your Own ISBN for your book (with an audio version)

Shawn Robinson describes himself as “A writer, a husband, a father, a Christian, a hiker (or at least I was till some recent health problems), a lover of coffee, a biker (not the cool kind, but the kind that rides around on an old motorcycle and has a blast) and someone who enjoys watching movies with my sons and playing cards with my wife.”

listen to audio version instead

In the first part of this blog, we explored some of the basics of ISBNs. In this blog, I want to explore why I would recommend you get your own, personal ISBN (as opposed to going without one or using a freely provided one by a printer/distributor/publisher). Later, we’ll look at where you get an ISBN and how to get one in Canada.

Today, I’m going to talk about why you should consider having your own ISBN, but I realize I’m going to be ruffling a few feathers here for self-publishers. ISBNs aren’t cheap. Self-publishers are often trying to do what they do with a limited budget so… to suggest spending loads of cash on an ISBN when there is a free option being offered can be upsetting.

If you are growing upset as you read this, just skip the blog. This is not a life-or-death issue. You can use the one offered by Createspace or KDP without causing the sky to fall. The goal of this blog is not to say that if you do not use your own ISBN, you are wrong. It’s more to say, “this might be something to consider for the future.”

A lot of companies will offer to provide you with a free ISBN. Createspace and KDP (for Amazon) both do this. If you are trying to cut costs, this may sound very tempting. However, it may not always be the best move.

Full Disclosure

Okay, just let me take a moment for full disclosure. I’m Canadian. Some of you already know what that means in regards to ISBNs. For those who don’t, it means that ISBNs are free for me. Canada provides free ISBNs for Canadian authors. I don’t know why, but they do. I like it. It’s cool.

I share that because I’m going to argue that you would be better to have your own ISBN, but some of you will feel I’m not able to properly argue this point since it’s free for me and not for the vast majority of authors on the planet. All I can say is, free or not, there are some distinct advantages to having your own ISBN.

Reasons to have your own, personal ISBN

(as opposed to one assigned to you through a Vanity Press or Createspace or elsewhere)


Your ISBN is assigned to your publishing company/imprint. That means that if you set yourself up with Createspace or a Vanity Press (I wouldn’t recommend using a Vanity Press in most situations) and use their ISBN, the imprint will point to them, not to you. That means they are listed as the publisher. Perhaps this is vain, but part of self-publishing is ownership and control of the whole thing, right? 


Okay, so… control. Think of it this way. The ISBN points to the publisher. This means that if you use an assigned ISBN from another company (rather than getting your own), they are the publisher. Orders for the book go to the publisher which means that if an order comes through for your book, they get the order. This is a small problem if you are dealing with few books and want them to oversee all this, but if you are looking for distribution around the world and want a bit more control, then you have a bit of a problem.

Let’s say you decide you want to print your book at an off-set printer. Since you are not the publisher, you cannot print it using their ISBN without their permission. I have no idea what it would take to get Createspace to give permission for something like that. You can certainly print it with a different ISBN (it’s your book, remember), but not their ISBN. Often people will self-publish because they want to maintain a lot of control over their work. Using an assigned ISBN from another publisher means you do all the work, but technically, they are the publisher.

This also technically gives them control over certain information. For instance, they can change the metadata for your book. This can be the short and long description of the book, the categories it fits in and more. The publisher of a book actually has a fair amount of that kind of control. However, it is not likely they will do this at all. You shouldn’t have to fear that this is a likely scenario, but the option is available to them.

Different distributors

Alright, what you likely want to do is get your book out there through as many avenues as possible. Ingram, for instance, is the big distributor/printer. You might even find that Ingram prints some of your books being sold through Amazon (I just received one of my books from Amazon the other day that was printed by Ingram. Strange, eh?).

A huge percentage of books are printed and distributed by Ingram. Most people have never heard of Ingram, but Ingram is absolutely huge. When I upload my books to Ingram, since they are a distributor, they start distributing my books around the world. Suddenly they show up on Chapters, Kobo, Foyles, Book Depository, Abebooks and just about everywhere else. Look up an online bookstore that sells print and ebooks, if you’re curious. I have only really made use of Amazon and Ingram for distribution. If you do a search for “Arestana” on just about any online store, if it’s Amazon, it’s through Amazon. If it’s there and the company is not Amazon, Ingram has likely put it up there.

You can’t put your book up on Ingram or other places if you don’t have your own ISBN–unless you get another ISBN or go without one (ebooks). Since ISBNs are the way to track your book sales, multiple ISBNs for the same book aren’t always the best move. 

NOTE: I’ll be blogging about Ingram soon.  They are an excellent company to work with and very much worth your while to use.  While they can cost you money, I have used them a fair amount and never paid a single setup fee.  I’ll share how when I blog on it.

The Future

So… imagine a world without Amazon. I don’t mean without the race of women from whom we get Wonder Woman. I will admit, I enjoyed the newest Wonder Woman movie, and it would be too bad to be without it. When I mention “Amazon,” I also don’t mean the rainforest. I don’t like the idea of not having the Amazon Rainforest.
I’m sorry, I’m getting off track.

Imagine a world without Amazon… the online book retailer. You published your book with Amazon and used their ISBN for your print book and their ASIN for your ebook. Unfortunately, they went out of business during the intergalactic civil war of 2027. Since then (it’s now 2043), no one can access your book.

Now, there are parts of what I said above that are unrealistic, but the fact remains that big businesses do not last forever, and your ISBN is the identification number that is tied to you and your book. If you use an identification number tied to a business that could go under (because remember, a free ISBN belongs to them), you risk your book not being available for purchase.  This is an even bigger concern if you are using a Vanity Publisher (again, I would not recommend it).  They could easily disappear and you will have to start over on the publishing front.

Yes, you could always assign it your own ISBN after 2027, if you’d like. It’s not as if the intergalactic civil war changed Bowker. It turns out in this future, Bowker actually funded the war from the revenue gained through selling ISBNs to self-publishers–so they are as strong as ever.

But imaginary futures set aside, the reality is if you use a free ISBN from a company, they have the capacity to go under, and that version of your book becomes unavailable.

So, these are some reasons to get your own ISBN.

Some of you are thinking, “I see what you’re saying, but that still doesn’t convince me I need to shell out the money for an ISBN.”

Fair enough. Go with the free one. It’s not the end of the world to use the free one. There is just a little more control and a little bit more freedom if you own your own ISBN. If you can afford to buy ISBNs in bulk, that’s the way to go (the quantity discounts are huge).

In Part 3 of this blog, we’ll take a look at where to get an ISBN as well as a little bit about the cost. In Part 4, we’ll explore getting an ISBN in Canada. Since Canada gives free ISBNs, I’ll talk through what that process looks like.

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source: https://www.shawnpbrobinson.com